Bead-Making Lab

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CONTENTS Introduction Bead-Making Tools

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CLAY

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1: Color-Changing Magic Potion 1: Sgraffito Beads: Carved & Painted 2: Ombre Beads: Mixing Colored Clay 3: Faceted Beads: Carved and Painted 4: Matryoshka Bead: Sculpted 5: Swirl Disks: Marbled with Nail Polish 6: Harlequin Beads: Colored Canes 7: Clay Pods: Sculpted & Textured

LAB REPORT: Bead Maker, Claire Maunsell

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8: Rosy Posies: Molded Beads 9: Renaissance Relics 10: Dazzled: Epoxy Clay Bezels 11: Wildflowers: Sculpted and Colored 12: Tiny Houses: Markers on Clay 13: Bird Beads: Sculpted and Painted 14: Sweetie Pie Face Beads

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Lab Lab Lab Lab Lab Lab Lab Lab Lab Lab

24: Flower Buds: Melted and Shaped 25: Doodle Bead on Plastic 26: Color Splash: Melted Pony Beads 27: Plastic Os: Flattened 0 Shapes 28: Vintage Vignette Pendants 29: Butterfly Charms 30: Photo Beads: In Back-and-White 31: Faux Sea Glass 32: Bezel Pendants: With Images 33: Charmed by Words: Old Books

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LAB REPORT: Bead Maker, Jen Cushman

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BACKYARD

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FIBER AND TEXTILES Lab Lab Lab Lab Lab Lab

43: Wee Felties: Tiny Felted Beads 44: Thread and Yarn Felted Beads 45: Embroidered French Knots 46: Folk Art Beads with Embroidery 47: Wrapped-Thread Beads 48: Fabric Beads: Rolled Fabric

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PLASTICS

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PAPER AND CORK Lab 15: Deco Beads: Decorative Paper Lab 16: Primitive Beads: Rustic Paper MachĂŠ Lab 17: My Heart, My Home Lab 18: Saucer Beads: Simple Paper Beads Lab 19: Spiral Pendants: Large Paper Pendants Lab 20: Poetry Beads: Using Old Books Lab 21: Faux Copper Pendant Lab 22: Stacked Beads: Glued Solid Beads Lab 23: Cork Coins: Painted & Stamped

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Lab Lab Lab Lab Lab Lab Lab Lab Lab

34: Beach Glass: Drilled Glass Beads 35: Gilded Pebbles with Gold Leaf 36: Mermaid Charms: Drilled Shells 37: Tree Beads: Rustic, Cut, & Drilled 38: Wood Gem Beads: Polished Wood 39: Flotsam: Drilled Driftwood Twigs 40. Buoy Beads 41: Star Beads: Sealed Anise Seeds 42: Acorn Beads with Polymer Clay

LAB REPORT: Bead Maker Q & A: Carol Dekle-Foss

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METAL Lab Lab Lab Lab

49: Faux Enamel: Pendants with UTEE 50: Wire-Wrapped Bundled Beads 51. Knotted Leather 52. Knotted Leather

LAB REPORT: Bead Maker, Gail Crosman Moore

Lab Results Artists Directory Resources About the Author Acknowledgments Index

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INTRODUCTION I DISCOVERED BEADS MORE THAN TWENTY YEARS AGO WHEN I STUMBLED UPON A LITTLE SHOP WITH A DISPLAY OF BEADS AMID CRYSTALS AND OTHER COLLECTIBLES. I CAN’T EXPLAIN WHAT HAPPENED; I THINK IT WAS LOVE AT FIRST SIGHT. I WAS SUDDENLY OBSESSED WITH THESE TINY THINGS! I soon realized there is a world of beads and I soaked up everything I could find about it. I spent hours in the library at art school poring over books that showed ancient examples made of stone and ivory, and over cutting-edge

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magazines, such as Ornament, that showed modern bead mediums such as polymer clay. And, of course, I studied the few books that were available on jewelry making.

It wasn’t long before I was smitten with the idea of making my own beads. I started by experimenting in the low-tech and color-drenched medium of polymer clay and have been making my own beads ever since. I now make my living selling my handcrafted art beads.

One thing I love about bead making is that with a few basic materials you can create one-of-a- kind jewelry that’s limited only by your own imagination. In this book, I’ll show you how to create beads from materials that can be found in any craft shop or hardware store. With simple tools and craft materials we’ll explore a wide variety of techniques.

These Labs—52 quick workshops—are just the starting point for your own love affair with handcrafted beads.

Each Lab in the book is a stand-alone project. You can work though the projects from beginning to end like a course on bead making, or jump back and forth between chapters trying new mediums that catch your eye. To inspire you, throughout the book, you’ll find examples of beads from

professional bead artists working in similar media. I also turn the spotlight onto three artists who work in a variety of materials to create unique mixed-media jewelry. At the end of the book, there is a gallery of jewelry created from the beads featured in the 52 Labs which will give you ideas for ways to use your new beads.

So, whether you are just succumbing to a bead crush or fanning the flames of a long love affair, I hope these 52 Labs spark your imagination as your dig deeper and start your own explorations into the world of beads.

—Heather Powers

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BEAD-MAKING TOOLS

• Roving—This is unspun wool, available in hanks or bundles that is used for needle felting. It can be found in most knitting shops and many craft stores.

• Sewing and beading needles—Beading needles have a very thin head to allow beads to slide over them. Heavier embroidery needles are used with embroidery floss for embellishing felt and fabric beads. Large darning needles can be used to shape polymer clay.

These tools are familiar to anyone with an assortment of craft and jewelry-making supplies. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

SPECIALTY TOOLS PLIERS AND WIRE CUTTERS Pliers and wire cutters

Foam sponge with felting and sewing needles

SAWING AND DRILLING • Mini-hacksaw—Use this for sawing wood and small twigs.

• Round-nose pliers—Use these to create loops with wire.

• Hand-held drill—Also known as a pin-vise, this mini-drill is used for making holes in beads made from softer materials such as wood and polymer clay.

• Chain- and flat-nose pliers—For bending wire, opening jump rings, and holding onto small objects

• Rotary tool and hollow diamond drill bits—for drilling harder materials such as glass, stone, and shell. Look for thin drill bits, 1.5 or 2 mm thick.

• Wire cutters—Look for flush cutters that have one flat side for clean wire cuts.

• Embossing heat tool—This scrapbooking tool is used for setting paint and melting embossing powder in our bead projects.

GENERAL CRAFT TOOLS CUTTING • Hole punch General craft tools

Hand-held drill and mini hacksaw

POLYMER CLAY TOOLS

• Scissors

• Acrylic rod—Use an acrylic rod as a roller to help flatten and shape clay.

• Craft knife

• Cutting blade—A thin tissue blade that is 3" to 4" (7.5 to 10 cm) long—it’s the best tool for cutting polymer clay.

• Head pin—These wire pins for beading come in different thicknesses and lengths.

One end of the pin is straight; the other end has a plain or decorative head that keeps the bead from falling off. Use the pins for linking beads onto a chain, or for making a hole through a clay or polymer bead. You can find head pins wherever beading and jewelry-making supplies are sold.

EMBOSSING AND SHAPING • Rubber stamps • Cookie cutters A collection of both will be useful in several of the bead making projects.

Embossing and shaping tools

Rotary tool

PAINTBRUSHES

• Pasta machine or clay-conditioning machine—With one of these machines you will be able to roll clay into thin, even sheets for a variety of projects. Alternatively, use an acrylic rod for hand rolling.

• Sculpting tool—When working with polymer or clay it’s good to have a small pointed tool for shaping and decorating. A stylus with a rounded point is a great tool to have at hand. A thick darning needle will also work in a pinch.

• Choose brushes with soft, synthetic fibers suitable for acrylic paint or watercolors.

FELTING AND SEWING • Foam sponge for felting—A dense foam sponge or use a synthetic foam kitchen sponge Paintbrushes

• Felting needles—These have a barb at the base for grabbing hold of and interlocking fibers.

Pasta machine

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TOOLS AND MATERIALS (See Polymer Clay Basics, page XX.)

MATRYOSHKA BEADS

SCULPTED AND PAINTED

THESE TINY POLYMER NESTING DOLL BEADS CREATE CHARMING AND ORIGINAL JEWELRY. Use a pen with a smooth tip to draw the patterns and faces. Make the beads in different sizes and pair them up for a playful bracelet or pendant.

white polymer clay (such as Sculpey III) acrylic rod or roller ink pen with a smooth tip or a darning needle

5. Draw the handkerchief under the face with a curved line that goes across the bead and two elongated ovals touching in the center, under the chin.

6. Create the apron by drawing a curved line across the middle of the body and a small rectangle under the line.

7. Add patterns to the doll’s clothing. Make polka dots by poking the pen at evenly spaced intervals. Flowers are slightly irregular circles with a dot in the middle. Stripes are simple lines drawn with the pen.

Fig. 1

Fig. 2

Fig. 3

Fig. 4

8. Use the headpin to poke a hole vertically through the bead. Bake the clay according to the manufacturer’s directions and let the beads cool completely.

acrylic craft paint in a matte or satin finish paintbrush

9. Wet the paintbrush slightly before dipping it into the paint, and then paint a thin coat of color on each section of the bead for different fabric colors (fig. 3).

2" (5 cm) headpin paper toweling Note: Paint color suggestions: Pick 3 to 4 colors for the fabric, a color for the doll faces, bright pink for the cheeks, and raw umber for the hair color and the antiquing.

TIP Keep an assortment of fine-pointed tools in your workroom. You’ll find dozens of uses for darning needles, cake testers, toothpicks, bamboo skewers, and old-fashioned hatpins, such as embossing and decorating clay and polymer beads.

10. Paint the skin tone on the face. Let the beads dry for at least an hour before the next step.

1. Roll a piece of clay between the palms of your hands to form a ball 1⁄4" to 5⁄8" (6 mm to 1.5 cm) wide. The smaller the ball, the smaller the bead.

2. Roll the ball back and forth to shape it into an oval. Pinch the top of the oval to form the doll’s head. Pinch the oval on the front and back to flatten it slightly (fig. 1).

3. Lay the bead on your work surface and flatten it evenly with the acrylic rod, flip it over and roll it gently on the other side. The bead should be 3⁄16" (5 mm) thick.

4. With the tip of the pen, lightly draw a circle for the face. Continue to use a light hand while drawing the face and clothing patterns. Draw a curve for each eyebrow. Center and poke a dot under each eyebrow for the eyes. Draw a tiny curve for the nose and a small, up-turned curve for the mouth (fig. 2).

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11. Antique the beads by painting a coat of raw umber paint over the entire bead, getting the paint into the impressed dots and lines. Wipe the paint off immediately with paper toweling.

The brown paint will antique the designs and highlight the facial features. Brush on a tiny bit of brown for the doll’s hair (fig. 4).

12. Paint two little pink dots for the cheeks; dab them immediately with your fingertip to remove some of the paint. Allow the beads to dry for a few hours, and then you’re ready to make jewelry.

BEAD MAKER SPOTLIGHT Bead artist HEATHER MILLICAN of Swoon Dimples creates polymer clay word beads that have been antiqued with brown paint like the doll beads in this project. Antiquing textured beads with brown paint brings out all the small details and adds depth to the design.

clay

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TOOLS AND MATERIALS permanent ink pad (I used StazOn.)

BUTTERFLY CHARMS

SHRINK PLASTIC BEADS

SHRINK PLASTIC LOOKS LIKE A SHEET OF PAPER, BUT WHEN IT’S PUT IN A WARM OVEN IT THICKENS INTO A HARD PLASTIC. These butterfly charms are created with a rubber stamp and colored with permanent markers. The finished, shrunken beads will be three times smaller than the originals and the color will darken considerably.

3" (7.5 cm) rubber stamp opaque shrink plastic sheet

Fig. 1

Fig. 2

permanent markers scissors

DESIGN IDEAS

⁄4" (6 mm) hole punch

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paper bag baking sheet

These tiny charms are the perfect size for earrings. Or, if you want to use them in a necklace, punch a hole at the top of each wing before baking. Link three or more baked charms together for a delicate necklace.

GIFT IDEA

Fig. 3

Why not make a charm bracelet fluttering with dozens of colorful butterfly charms? These shrink plastic charms are light enough to use in multiples.

3. Cut around the butterflies with the scissors. Leave a large border around the antennas to prevent the small pieces from becoming too fragile (fig. 2).

4. Use the hole punch to make a hole at the top of the wing (fig. 3).

1. Press the rubber stamp firmly and evenly on the ink pad and stamp the design onto the textured side of the shrink plastic sheet. Allow the ink to dry (fig. 1).

2. Color the stamped butterflies with the marker, working from the center out toward the edges.

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6. Preheat the oven to 325°F (170°C). Bake the charms for 1 to 3 minutes. As they bake, the charms will curl and then flatten out. When they flatten out, they are done. Remove the baking sheet immediately from the oven and allow the charms to cool before removing them from the pan.

5. Cut a paper bag to line the bottom of the baking sheet.

Place the cut-out butterflies on the lined baking sheet, stamped side up.

Plastics

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TOOLS AND MATERIALS balsa wood, 1/4” and 1/2” (6 mm and 1.3 cm) blocks

WOOD GEM BEADS

CARVED AND POLISHED WOOD

BALSA WOOD IS LIGHTWEIGHT AND CAN EASILY BE CUT AND SHAPED WITH A CRAFT KNIFE, MAKING IT PERFECT FOR A BEGINNING WOOD-CARVING PROJECT. These beads are shaped by slicing thin facets off a small block of balsa. Practice carving on a spare pieces of balsa wood—it’s easier than you think.

craft knife small, hand-held drill (also known as a pin vise)

Fig. 1

Fig. 2

Fig. 3

Fig. 4

5. Drill a hole through the bead vertically with the hand-held drill. If the bead is longer than the drill, drill one side, turn the bead over, and drill the other side to meet in the middle.

Thread a wire through the bead to make sure the hole goes all the way through (fig. 2).

8. When the paint has dried, sand the edges of the bead’s facets to reveal the wood (fig. 4).

400-grit sand paper toothpicks foam block acrylic paint matte sealer (such as Modge Podge matte) paper toweling and water for clean up paintbrush

TIP A pin vise is powered by turning it with your fingers. Balsa wood is soft enough to be drilled this way.

Try drilling some scrap pieces of wood to get the feel of it before you attempt to drill down the center of a bead! You’ll find the pin vice is also a useful tool for twisting jewelry wire.

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1. For large beads use the 1⁄2" (1.3 cm) thick balsa. With the craft knife, cut off a 1 1⁄2" (4 cm) length of wood. (For small beads use the 1⁄4" (6 mm) balsa cut into 1” (2.5 cm) lengths.)

2. Hold the rectangle of wood vertically on your work surface. Use the craft knife to carve shallow facets from the wood, carving away from you, working from the center of the bead toward the ends, and moving the angle of the craft knife to shape the wood (fig. 1).

3. Repeat on each side of the bead.

4. Taper the ends of the bead, cutting smaller facets at the top and bottom.

9. Place the bead on the toothpick and brush on an even coat of sealer. Allow the sealer to dry and repeat with a second coat.

6. Sand the bead.

7. Place the bead on the end of a toothpick and apply an even coat of paint over the entire surface, including the ends (fig 3).

Poke the toothpick into the foam block to hold the bead while it dries. backyard

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GUEST BEAD MAKER

LAB REPORT

CAROL DEKLE-FOSS

TERRA RUSTICA DESIGN

Q: You work in so many different mediums as a jewelry artist: metal, ceramic, stone.

What are your inspirations?

A: I am a visual person inspired by the wildness and beauty of the natural world and by different cultures. I work with diverse mediums as a way to discover what it is that interests and excites me. I am in love with ceramics and am finding new ways to use this medium as a way to further express my artistic voice.

Q: As a mixed-media designer, how do you choose which materials to use to create a jewelry design?

A: I choose a medium by what I am most excited about at the time. I will then add more mediums or different techniques as a way to enhance interest and create variety in the piece I am creating.

Q: How do you keep your vision and unique style across mediums?

“My journey started

with the single intent to sandblast custom designs onto river rocks.”

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CAROL IS A MIXED-MEDIA BEAD ARTIST WHOSE WORK RANGES FROM UNIQUE STONE PENDANTS AND ETCHED METAL BEADS TO METALWORK JEWELRY AND CERAMIC BEADS. ALTHOUGH HER EARTHY PIECES ARE MADE WITH MANY MATERIALS, THEIR STYLE SPEAKS WITH A SINGULAR VOICE. Q: I first discovered you when I was drawn to your sandblasted stone pendants. Can you explain how you create them and how you got started on that journey?

A: What I do, basically, is place a stencil on a pendant and then sandblast with an abrasive material applied at high pressure. The sandblasting creates a low area in the design that I then paint with acrylic. My journey started with the single intent to sandblast custom designs onto river rocks. I liked the idea of taking something so simple in form from nature and turning it into a piece of art. I then was invited to a jewelry party where I saw a necklace with a stone pendant as the focal point. I thought, “What if I could sandblast designs onto stone pendants and create jewelry?” I did some more research and then started down an amazing path of creating wearable art.

A: Developing a cohesive look in one’s work takes many years to develop and hone. It’s a process that takes patience, dedication, and hard work. My distinctive style has evolved over the past few years, but I have tried to retain my love of nature in my work. This journey as a jewelry designer has been a way for me to discover my true self. Along the way I have been able to share my story, which to me, has been the greatest gift of all.

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TOOLS AND MATERIALS wool roving (merino wool is recommended)

WEE FELTIES

TINY FELTED BEADS

TINY BITS OF FELT ARE FORMED INTO BEADS THAT WILL ADD TEXTURE AND COLOR TO YOUR JEWELRY DESIGNS. These beads are first needle felted and then rolled with hot, soapy water to tighten the shape.

felting needle hot water

Fig. 1

Fig. 2

Fig. 3

Fig. 4

3. Dip the bead into hot water. Put a drop of soap in the palm of your hand. Roll the wet bead between the palms of your hands, pressing tightly as you roll. Continue rolling until the bead is hard and smooth. Roll the bead back and forth between your palms to shape it into an oval (fig. 3).

4. Press the bead with the towel to remove excess water. Let the bead dry overnight (fig. 4).

mild dish soap (fragrance- and dye-free) towel

TIP A foam slab is an ideal surface for needle felting. Foam has just enough texture to keep the felted piece in place while you work the needle and plenty of “give” so the felt doesn’t become flattened.

These Wee Felties are so small that a foam kitchen sponge will serve the purpose. If you’ve ever thought of giving needle felting a try, this is the perfect mini project.

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Bead-Making Lab

1. Pull off a piece of wool roving that is about 2" x 1⁄4" (5 cm x 6 mm). Roll it in your fingers several times over to form a small ball (fig. 1).

2. Punch the tip of the felting needle into the center of the ball to tangle the fibers. Pull the needle out, turn the ball over, and repeat. Continue turning the ball and inserting the felting needle every quarter turn, always poking toward the center of the bead to create a small, round shape (fig. 2).

5. Poke the felting needle into the center of the bead, working the bead onto the thickest part of the needle. Turn the bead over and repeat creating a hole all the way through.

fiber and textiles

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BEAD-MAKING TOOLS

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THESE TOOLS ARE FAMILIAR TO ANYONE WITH AN ASSORTMENT OF CRAFT AND JEWELRY-MAKING SUPPLIES. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

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FIBER AND TEXTILES TEXT TK THESE TOOLS ARE FAMILIAR TO ANYONE WITH AN ASSORTMENT OF CRAFT AND JEWELRY-MAKING SUPPLIES. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

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BEAD-MAKING TOOLS THESE TOOLS ARE FAMILIAR TO ANYONE WITH AN ASSORTMENT OF CRAFT AND JEWELRY-MAKING SUPPLIES. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

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[JEWELRY SAMPLES/UNIT OPENER PHOTO]

BEAD-MAKING TOOLS THESE TOOLS ARE FAMILIAR TO ANYONE WITH AN ASSORTMENT OF CRAFT AND JEWELRY-MAKING SUPPLIES. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

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[JEWELRY SAMPLES/UNIT OPENER PHOTO]

BEAD-MAKING TOOLS THESE TOOLS ARE FAMILIAR TO ANYONE WITH AN ASSORTMENT OF CRAFT AND JEWELRY-MAKING SUPPLIES. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

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[JEWELRY SAMPLES/UNIT OPENER PHOTO]

BEAD-MAKING TOOLS THESE TOOLS ARE FAMILIAR TO ANYONE WITH AN ASSORTMENT OF CRAFT AND JEWELRY-MAKING SUPPLIES. Most can be found in any craft shop and a few will require a quick trip to the hardware store. This list covers the full range crafting techniques covered in this book from working with clay, to felting, carving, and painting beads. A list of tools and materials specific to each Lab will appear at the start of each project.

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