h!

ftmductian"Fomwnnl

-!iiI !I

v.

AfC"bJ;owledglllents, . ',".~'bGlut the .AUnlOrs;

,.

IX--

.

C"b 9.111lr I~, A Gallery' IO'~-=' NeCklIlI£fl' .

C - ~p'~-·.'r ,z~ D~llplDlg: "_~miUj'r'~'~m "Nec.kI.~1

Cb~lp_ 7'~11 C,bl,ap' '_. _ ~ 4'~1 PU,'triern; ,

Chlpte_rl ;~:i' ' -:indi:R-·' or' Ma''"-:-,: Uu: ,Pen' ~'T:: ,8e~J:1 s :ror' 't,u.-~~ .. :' Igkl:I:~./

1 ~'3i

:55 ---J-'

1<1

III

Othcr' Books and Public, tillaR B'elld, '.' ,:-,ei'c_j,~s;

1'25, 1.21' t2"~· 129 13' :

So, •• I" D,..... d'-

,;,~ur-ce8 Q;- ~a~'·s,

I~.bot(1·& D]u~'tr8'tio,n Iredi't~:. rude, .. ,

Iii I. Iii

,~. ~

xn

, ..

1

A IG·.····· iallery 0···.···,"

..... _ ',' " "_' -,-' - '. ',' "" ".~",

-- kl

-', '" '.. ' . ".

".

, _

N·· eck a ces

. • .••...•. ". -'. ',,: . r. I", ......• ' ....•• ,", .' •... : ' ... ~.: . ::

5,1 HumAge to Maria Ma,rti"ft by Helen Ba n es, DesilP. in ~ sp:i.red. by . he pettery 0'( ·the S au .. lld.&'((i'll.SO potter, Ma ria Ma~rtiDez~ The c]:ay and Na;vab.ol sHver beads :n!I ate to t'h.e Sou.tbw·e-st Na.·_iv,e American. er,aftll

I'am often asked how 1" can' blear to part 'with my necklaces 'when' th:~J' have taken 80' mu en of my time . In respOllse.1 my colleague, B~J., Adams, gave me this advice: "~All,110U need

" ..J 1

Z,S a gooa cotor

L h' -

prtotlograp. or slide Sf)

that yOlu CQ'n refer to it when ,ycnJ want to recall the design or to use it

for teaching purposes. n

1 have taken' her advice, and I also takea color photocopy of eacl:

piec e 1if!'IO' tha t~ l n- 'a._.-' \l,n U··' "

J! iLl. _. _' I L _. __ " ~ _ Ii''''

exact' copy of the scale and colors of the necklace. .A ph o tocopy "IV ill reproduce eve." the details of the beads ..

T~S chap ,~r will, show ,!OU t~'e exc~ting range of ~istry that has resulted from Helen. Banes technique. Both Hellen's 'work, and

that of her students are' shown {In the following pa,ges, along with. comments about the technique and the pieces. We begin with elen's work

",_.' ," ".:'" l~

·-Jec.ldace.5 'willl African ._ :otifs

fi ~ Tim/Juitu· .. (tope'ft'·) l ',' brDU aD' c:o.lol'rs 'we:re' inspired 'by .' _ '[rica n 'tribal .' extilH'i

7'~ ,Fetish Ado'rnmen'li (:tOP' rig' t) 111·'·.pire.d. by' a small w,oo _10 re W.' :&g:lln be.Uleved to repel s' y' :malevoleo' in'nuc'Bea; exh~;bj]tediD "_be Mi,e"", .el

R' . k ,£ ('I 'I. ... ~II ,-' tb M'" t 'e . M' ,

,·0£, 'ei:e· Ii ' .-"IDill 0:.' '_' __ .:_.~: e fO'pOu.' ' _D,:,-,.' .'Il'um o:!

Art;, New' Yo.rk, CU:y~,

8. AS."I te Golll. (~',efl") 'Go,ld WaJ~dl~d! b ea '-I ma . ~ b, the AJSI,D".e peop .. e 0" Ivory leo:.,' llI.sm.g: tbe' 1.10s-.

w~ . - meth,odL

Chap ~r One G' , ~ '11 t ~'r::Y

lU.~ ~ j :.' I" ~ ,- ,", II4IJJJ~ ~

3

10' " D- , --,. - D~ ,,j " ,I;, ~"ilil.,r, ,.iI I t"", , iliorh,t',)" " ,~ rBru vl.n ~,tJc:,:'or:tJ1 HJI~n L 0111.1' ~ "LOP r, ,!SIUl- '

HO, -d"'p'a, I·nfed ee ra"'~ IP '-'-,DUd- '!i'!, f' "r' , 0' m P ~'·li!ru·- ,I

gIll," .'~. _'_"'---- __ ._ I _._ll.I.IJ~J 1LiA1. ~ 1 • ~ II

4

u, ,Mas'k; oIXip~To,.ter::., (tup left) Tb,is Ingenious neeklaee can be' dlsassembled in.to three parts.: a pin,., a small peadaat necklace, and OJ :- a,rge,r pendant, The pin, is Me'x.ican riDded silver an d the 'featber ... like, head pliec'e ,a~Dd jad,e-li te earspeels are made 0" polymer Itma'y~

1,:l~ ,Mask ,tJl,Xipe~, To"te'e~ (tnp r~gh.) The elements of the necklace, '!iiep a,r,a ted ..

oil

Chap,tel IOn~ ,"_ Gallery

.5

,

1. S.. Coldnli1itta GIOItL (hlp ,lief ,,) Me: 'a.! fetls h 'ligu,re 'from Col,om,b,ia wi'tb go'l,d~e,oln:red cu:m.s ..

1 T, ,Royal Pier: toral 'with Searab (left)

6

1.8,,,, ,Cla,rose 's C'rJ,I"'r~ (,hlP' _eft) Ins,piired 'b,y tlI,e desig:u and, colors of an eart ie'D,vare vale, created by 'Clarisse Clifr~ D, 'J,;92-0"", Eug:'nsb petter, From tbe co Lee-tioDs, o:f Adeline " azur' and P,ft'tr'icia Kauffmann.

19~ Carnt Casc'Il',de"i (top ri'g,b t) Be-a,d's are eEl.'rly pi as t:,c o.f the 19,30"si

20:1 riff""y,No .. 2. f~eft) R movable M:e,xic'an si.v'er pin w'ith ~1.m,et'h,y5't ~'tqn,e'; C,ze'cho!dilVa,k~ia-nl faceted erys a~ beads, W'i,tb. pin, coll"ecti,on mf Mrs, ",', arlon 'D~ b

.D..JC _ 'ma;n;

"

7

21 i i" rim' ifjnd r/~t;uftm/i"!I" (tup righl) ]-linii;p:ir~d, by the ·di~.scription. of ~'llIe boast p,l9,t'e of'tbil bigb pl:r~'es'_: in

E··' d- - C····l.. '"'Ii() , "/::. ··xo:ws .' " !III',~ "(JI~! "i:~ _..J ,;

~~\'tlU 's,'haJI make a br1~9itp~a.te of gold,;, blue a.md purple yarns and tl[ fil[l,~ t lvil!:ledJ Iiuen r, S8t in j.t rOtl,r ro: ,'I ,of stollll,~IS~! 'be stones sh,sJ co,rrespund to 'tll.e twel\re ~O;IlS, ~r hrael," .. ~O'D 'tbebrt;ast,pl,ale yOiU sbaU 'pla,ee '.be [Trim and, Thummbn, 30 that ·they' are over A O:fO'O "s heart .. ,"

The sfO.IJI,e!i ,r~lPreSIt)IllI:UI1~! Un: twel,ve: tribes nfIsrael are made of pol,)'mer '_IYt 1"Eu~ ?fcft t'hread: is :m_taJ.Uc g~;)d; :fri:o g;es and t:9i,~,S)eI8 fa re silk :aIl1 d. ray en thread,

8

.

22 "'carob b:: Jud~. BeOS'OIl~ (top ", It) An ea ,I~er course in, coiled basketr- ead to 'this unnsua

- - I - -

'b'lI tt 10'11· d ii' t h ii,

com' I:n, a 'Ion 0, cillng,;' ,D'~ W':lVID, ",C " nlque'l~

Judy begins wit __ a "cn,era m,nt, I im ge of - 'O~ , stU!' wants 'Eh pioc' to 100 .an D,' ,eieetio," of colo,r,', 'w'b'il!h she add' , to or subtracts from a's, the

- '

23". ; r-os' by ,J II' _,y Be'DsD . ,'i (to,p ,- igh't)

'~4 L ,rc,'U I b " . ~., (1') 'b'"'

Z ~ '.1 Buy ricre.n, y'" .' r ,:. tater ,.Yi 'n. ' ~ .. t, ' '_ IS

pi ~ ~ e ','8· 'j'g ~ ee a p _,r_; 0, " be: ," hr <. _ I:..··~r

C' II ill f d· I ddlOi ~II

. 0, .. tlllL ", s, ler es 0, , ten m e ,IC'\I'a W;,' 'Ing. ens

m,ode_ed a '.'he Chica,go ,N'ati'onal 'Rrid' .1, ',-, ~de Sbow !j~:n 19190 and 19 :1., ,\ n Im 0 tan't i art of'" , ,desig-~ is the p,leas'ing prop1ort 0:- of str md ~ of

_' ' ad, 'to the over,I,II', ~~Iet;' : .. ,0, erly long S,' rands WO'llJ,L .dlstor 'be shape 0,' the P ",et'-'I!

Chapter One.,. Ga:U'ery

n '7

"£, AI-i;,,,.,c ~rf:~D'Lt- 'biy" J'u,d-"y:: E-hrLai'~AI" I(t'ftp' n·1J1bt' ') T'-- hill;

~UI ,.l14IC. J; 'Y,II!I"~I! _ _... _ .. ' .'.', ,., [1l_1~ _.,a u~ :..' '01 - '~' .. :." 'J~

go, .d:!!i'to,D,e, black hern, ~I'nd, Ieopard ... s:kiD 'I,p,'te beads ble'od, we-I lVitli tb,e Bia,led, 'stune:wBre' w'hieb MSt! :-,'h'rb,a,rdt, produces b,erself~ T'h,e d,r~allia, aId powe'r' of the Aztec ,cul'tu:"' are I: _rikingly ~epresm:t~ed b'y' 'tII,I' ,(,o'n'- rasHn" IClOrlo~rs of 'HI .', p:arl Ic'mtt~)'n ii,

"17' AI B I' h Klmb '. C- b !IIUd II ft)

~'~ ,. A ,uIU mn , ',,-,lIze , " J n..DJJ1 ',Ier..y ',-_-, - ~_ !iii, 'J,~,e', ',' , "

Inspired by --~e' c'b,an:ging' colO1n Or'r'faU" Klmber'ly' eelleete 'd!!f!iriMiJ"e-C!! from " IiI'!Ii l'Oji1iifflil'lI beta D~"'" '0 'r--di!iiH :snd'

u 'Ll~~' .. ~,,-_, ,~~Q l' ~I _ ," '_.__2 ill, ",_ ~A,!I _,'_'. I •• ~ 1~,1 •• - ,~-=I "__ - w

mate:lled the,D] tOI threa - s a', a stitcbery sb:up. To t),ugmen't b ':r t: I_ read .a nd bead.s, she: made

add' ,~-t!'o-"na ' bead '5' ,f:"ro'-"'m p1n'I'VID-af IfiI a---y' ~-,n--I-'t-·----" ,- .

. ~',., • _,Ii!llc~" _, "~ __ ' . '.g, ;J" ~, ..,_ , sume IID.H

ins,ett~ g small stones in-o the beads' for g,res.t-ef' effeet, 'l-c:njoy the s.ootb'in,g· moveDl.enu·o,'

~, ,..:I. ' b=: ill- hni !Ii' t- b "

we,l\'1o.g ,.n,u. SUl.c.e' . 'IlS 'Il'ec_- iIllque 'II po-rl_'8 " e" .

take :it 'with me evetyv;b,e~e~ ,As, travel, I siearc"b, for io'leresrong: beads: and, ' hrea,dl's, an.d so my 'war'lt takes on ,- be fta.vor o,r tbe places I b,I,V'8 vlilit,ed~;~'

she said,

10

''''10 ltd' .., ,II' .. t' F··,·t·· - b 'V'I' 'ill '''IE' 'Hi d (to' .~O.ii J.'¥lI.'J,I~jC'tJ.e:,' an At] I.,Y ...• lrgl.nl;__ ,.~ .. __ .r,_.~,. _p

'1' ~.,) A'· mhe ·'·'-:-·'t'-b··· I(.th· .... iDoOib' A" rt···:-: 'G' ""U" ~i

I,e" ... m,e.m.er 0.: .. _.c ~ . u.re' .1:":1. .. er:, - 11 .. ·.u, 1!Jj,!!!

v'" .."', L.,'·b'·t d "_'L k ii t . b

.. 1.rlP.D·~a eXliil: .I~-e~.'~lI:ree n«.pU::lCel a:' ',I' "e

fL~:: d ..... A~, t- -:- nde F·r [i ~ er A····.· ,..,,!l'],o:~i:a'lio':D. Conference at

l:"_lIIJI, ". .3n "'"" IIU~ ~,,~__ __ __ _ _ _ . . _

Buekne .. 1 'University;. Pe':n'Ds,ylv30i:a", lO.l99l. "T,be green b'irds, cora I. beads and 'silv,er 'lis,h re'mind,ed me Qf'.b.raJp·p'y· hours ,s'.pen, waUdag the beach, 0,.' Cape Cod. Bay' and 'r·he· wate.r color eo·HOD 'seem,ad

r· . he - 4I.~.(., l'h' C" '. C" .. J. d sun . t" .' .... d Vi' ',.', . '. ,'": .. 1

, o'e part u e '.' a.pe<·o . Sluns,e_, sa: c...' IrgllllJI",

2!9~ Anitle'tlJli Stflrbu~rs,t by ViJr:gin:ia, E~ Bird", ('lop rig: 'it)' he. eenter s a:r o,"t·b.is neekpiece was ins.:pired bya motif j'n aD. .An.dean. four-cornered hat, The bo.ld. st •. r motif m·:gb'.' aliso be fa'milia,:r'to qll'U.c·rs as '.·h.e· i"Lone Star" patter - ,'Ii

''1i n 0-[" bvB b 'R' III rt (J ft) iii' .Ai, b ijo ldi i~t' ':"U,lirp"-',leum _yo . a,r ._. ,;' 0': ~ •... ,re, I' •. - ,ti's a e .:. II I, .

W:IJ,S, a treat 1:0 10 to th- movie 9, i,n 'ih e big

d 0;" ~c·-·t,o·.'\I~1fn '·.·h·ol!lli,:ta'I. '~'he O .. ':-,.rp,.be,u.mJiJ Lwas

DlV II. Tr . "'"A _ ~ , _ __ _ . _ .

partteular Iy Ie n, m.p - U .. re : . by the t.iIll"e-,wo·r.n,

-Id- b d rtt ~ 'T"II 'h -h

t· .... ,- - - ':-":-'--"-" '._J~ I.~ ", I _. . j -']" . I' "_ ..... r: II .u- _',", -.

,go, _, fuca.La co . I In. Il' _ .ey __ D.D.I eve.rY"V' .e.["-e'i

,S·tag"!1 b ("-Xe5, ba conies. . ' 'wn u,ld wake aft o'igh'.' dream.iD,g I'b.art 'tb e :frio.l'le 'h_:I,d been ,alive, tb.a:t it 'w'as cra'wUng' oft 'th.e w:aU,s\t ,r!~ :b't tow.3,·r.ds me!" 'W'ith such vivid m.em.o:r'"',e.s,,,it',s n·g wond,e'F Barb~ 'wa~s . ,'b~e tOI creat'e'-.sulth, ,I, :Iu'scious·p:ieee. The' foeal point ls an a:qtiq'Ue bu.tt(nm. gi'vlen to .b.er' biy a. gresrt a'u~n:t

Chapter. One ... Gallery

11

311 r BJ,·", 'L.., '0 '~, 'H'I< rt

'~ (;!jlleJ}'entee'n ,,',we uYiaru, :01 ,,.,

(to _. ,left) 'Th.is 'D.e,c~klaee. was wa:rped

iit'" 'b t, h ~'iIllII'...I II! n a rod' '"!Qi f;.; n 0 p a'H- , am-

W ,,'I I ••• 'lf~AU ::_ ,~ ~:-·-'-."'_'~-·-'~a, _>. 1 I'~"I •

and 'the wea'vin~g 'wall done in s, ,c:[\cuJar' ~a'sbiOD'li Se'vent,een sh d s

bil tt d' '6~ Ii-Ib-

o [I,ge co .on 8D" ." , , ' H,eD :), ' ,'el":s; 'were

'used~

,311 G:eode by' Barb Hjort, O.eft) The

. f d ~ iii d

nataral shapes i£l ,geoll.es ID'!l(Jlre.:,

tbis ve,ry successful piece, L:,k,e "'SlrveD'teen. Blue" (a,borve)~ tb"5 necklace was warped' l¥ilb 'tbread ~D a, -'sdis't'iD'O' nattern bu wi,'-'b ,B,D,

I' , '-. ,~r -t - . _.,.

irreluar outer s:tlape~1 Co:Uecti.o:' of ,D'is,'Of: Fi'tzger;d,d,,,

l2

3Si Floro by P:D.me'la PeD.Dey~, (,toOp riih'_l ~~T'&.er-e are 'twig leem,enu, Jla:t I, :6ad ~'ri,tilea,~ ,to' m~" 'pie,cs,!, T '11-" r~ll: iimpona t a~pec< O'f'-I;-I_I, n :ekpieees :is w'lJa't __ term the "voidsi' Als J WI£UIVe, I del'i.be:rBrely dislort the warp 'threaid~~., to, create lUi ~eD spaees, These em,prQ~' Spl ret.: are as 'E,ri;ti:eal, ,to t '10 Ifo,mpo·,' i.'dO:J~ 131, tbe ·,1, -.r.ul:~ 'w,eaj'·~'._ g i:_t'lll~ I 'Ibis, 'Will:.' :m(R ~'~o_e~' ass:odlll'. my needllcwea'vi_g willi, ta,m,d.o':D;ld -~~e.:: '._!"'.-g 'ecbni,q'uifJll tblD to 'tap,a't~1 'wea,vin~ Secoadly" my

,d . Ign pimeess i ! ,aiD evol.u'tiUI, __ ,~ ,8y' '-his" ml~an 'that

~a Ifhomgb '_ lIa,_' ,a_D O'Y'efaU 'ClOD_pi 'in ,nr"g,d, :fl--J, I

devellopl an ,overa'U 'SblJp =' 'For' tile 'W,I' ~p , I ,do Do't I~ hart out or plan t'll _ weavbJg' itself!! I I,e' , the __ ,esign; come 'to --e as)' .. ,roceed wit - 'Ibe, wea'vin: -,~, ~ 'Piut tb,e· b ' Bids,

0\ I, ~'_a'rp andl'cha- ,I;' eo ,I 1 .. 1 :a: I:' ,I. Ui¥c-:" '~,',:~

'lbe,Y ,1:111:;' needed, In ,t'b.is '''~I'Y:-I my neckpi,eoes,' _rl " 'ba~anced, 'from, side to side but la'r,e :alw:a,ys

Ily ·m,tlt ri.eD ~ ."

,31"'~ /'d»nm,I' ,"arlo" ~y P,ghi,cia, K. J'ey t l(l!eft) "I"Eil~S piece COD'taim, elements foud. 'in my Isister~5 attic:

Cbilnse.~(JiDs 'from oiur gr,and~m.utber-i-,:~. i:pg bu:ke~, ,jet .', :~ ds f'- ,,'m :~t1Van.dm,th!er-l : nlil!kJ~a£le,1 auld ",mOlY!'!; 'amber beads" The '~en !O':-ia'.~. "eads ,and

i6!11'~ l~

cry,stal roadelles had mdd_d, 'for yle9'rs, in an old bO':-·, of

bu-dons;, aDd be ouged 'tOr lb.-e' laBI,e • - dies. ,·1

13

37- I' -~~' b D- 'F"iz I (~ I ft) ',~ ,~',n,c;tI r,i,nca:s _y _IBDe ,c_:-I __ :ge'r;a_ -_ ",'",up __ e~_,

lilt OIRoyrd Bloml by Doom -, Fi~genlll (top r~g I~)

14

'ads d Thr d

" ,.e; .u an': Threads

15

4,,3. Un:t;,'tled by J·a.d·in.e S:u·re~tl:e,. (tlO'p ·I.eft) ~'I lo·v1e. ,3,0 .ique, beads a~n:d f·b.is D:eedle'wea·.vm,I .. has beeR. t, e vehic.le :for' m·e ,to! .imtegra.te the sabtleness o·:f silt Ob'ers aod,_b'B ,.po'JD,a 0.:( 'old bea,d.I,,:"

4,4, StliCT,'ed Ny,mph~ ,After' CtQH'(lch by Ka:tble,en :B'etty ·\\liUiam.s, .. (top ri;gb't) T:ke Sacred Nymph w,as dle·signed as ii, :lIom:a'le" II L'U.CHS C'r;aB:a,c& the Eld.lcr, a.l4"_h.-ce11.tu.ry 'painter~, The lo'w-.,elie,f po,rrelain Blu.R was 're:prod'u,ced,flllld, 'p,amled, 'by IV'..,." b'll" 'c' '- _ _ )1" 'd: _ ,I;t' b " d- _,~, "~to ,- "t' ~ , _ ',d~: _ -_ " ,'_,', _', d ~, __ leeD.~, .,(nlp.d~_ WI_· _ ,1,_ I.S, ao._, ,lJa,D,~Jscap,e ,au_.

birds the result ,is an .im;agiD,ative" ,a,bo,os,t dreamy pl:iece~ .A1o:n.g with need ,eweamr:ll t,be.piece also iDcludes, knotting ,an,d. w'l"-ap~p'iDgwi.th ,em :-_ r-oidery t'lI~eac 5,!!

45 .. , Sell Falr.'lf by D,eborlib Tweedy,~ (left) I "The iD.te-g.ra.t~o:DOf' beads, :' ud fibers ~§1 aUI.ties both. my passlens at eaee .and resolves, the &u:ltn.-tioD. ereated by tbe' 'limited palette of bead colo'n~1 I fou'od tbis piece to ae a;mo:n.· I, "h,e: mest ,exciting' :1 lIa've ever ereated T'ke' eolers of' 'S,e·. "aDtIIY,' are th". ,£,u,lo rs I wo uJd like tOI fmd, UDder the ·seQl~"

16

4- c.: v 'In'~ I . .rrr... . ~ "b""

_ g.. ~gyy~/'II.1I U·Ie;O,m~J.:ry .,1

Dia~De Fi.t2geral'd'l (' ,op le','I) '~Tb,e 'regular:ity of E,gyptis,lI, fOll"ms S,DC'. R;S, 'the pyramids and their color 'palette 'was the starti'og poin't for th.i's, pieee,"

4,' ~ Untitled 'by Dlaae Fi.tzger,a'~,d ~ (to:p ri~gb.'t) '<I' ofte'D wish I 'b:a,d more

i' . . ·t'i -hi b

Pi"li"pa nl eac Q n p,l~"m' ' '11 nO' 'W" IP'

I~& :-"-'= ,_~_""" ._._ .:..., !II. .ti"', ' ,L·

I '~hiD ,_:. 'W'ould make me freer' :in :a.pprloa,cbiD,g· aeek alee

d ~'II'IUn W,~.. ,'l·tb" 'p" r'a' ,jfIi'';'; tliDi ~",~.

I I~l ~ II ,_.". _ : .,1 '_' _ ~ y ~~I' .• __ j ~I

pOlslsible to PllSb oneself' ,to Dlew bei'gb,'sl t,

4'8'11.1" .,.., . '. 'T"l. . b D' ·.ill - - ...

I.' i~, l'rJ.fJn" ey . .1 ,r-ee; ',y '. Bn,e

'FiI, ··igerald~,(].eft) "Tbls p:iece 'is aI~ ,about texture, I'r'r,i.ed.u create "tb .• lee.,iog of tree bark D'sing grays, taupes, belges and, black, an,d. 'wo've' the p"i.eee at :r,B ndom ·"fitb,ou.t a

it 'TIl' bl 'k' . b d'

, '... " " • . ';.' I " ','.' . . I

po ern,!! Ie _sr,ge I ... _II C,_· . ea

is, lof H, carved ·mOD .~ey .. '

Cha,pter One - Gallerv

~, 7

i4l!t SUII ,Steps tina Shadows: b.y: Daniele 'S,. Duboisi'

.'

(top.le:ft) "This wasm:~t 'thIrd p;ie1fe'; made In

-0'· ,- tl-' 'd"-' =M=" 'I-I" "d"'Ji,. 't'-h- ,', .. d- ,,"f: N' ":', , ," b" j 0'0

e l.e.§l .. a, ,. a,r:y 1:;1111. at ,:".e en.' .g ,,'DvelD _er 7;7~

The leaves had falle-u, the-co.ld. w:aJ! s,lmttingin and the days were sbo,rte.r-. ,lloD:ied fllr the w'GiDd.errul summer I had J ust Spell ~ j III the S,DU t'b 0:( FrilD ee,

G ld -b d 'il t' b'l k d d ' b

. - " 'r' ," - I,' - 11 .", I"',' j '. I·"'· t t . . . _. _. .' -'.. :- ":::"1- ,-- ,- . J ",.::

0, ,_' eaa S a g,31D S, JIIC· OD,YI~4"re, I, an ,gl",l.y~u e

Stun o'f Provence 0,0 a seerehed Illndll'18 stroll :in, the narrew streets ofthe old quarter of ~Nice o,n a hOi Su nday afternnon.csun, step s IUI,d, shadows,'

50~ Africa' ,11 by Carrell Gotte~ ftop rig'lIt) t~II b,a'Ye' a.IWI,Y'8, been in'terested 'hll textiles, a ad mere :rec;;!;ntly have discovered, tile W'Ort1l.d, of beads .. The comb'win'l of these intere:sb and stud',,' of,th'em, In

, th .t b b tb' 'I' ~ , t' II' E'

" ,,',' ,-", I I " " '-, ' " ,," , "i '1', ',' ,"""'" "I _-~ -, --', ,

0, er CD ures as, een .e I,Dsplra.]On, or my

k Th b ] te ";'~ d II ~ d

' ".,- : I -- I ,,' 'j' ,'" " " " "",",'" '.. '"

wor ~I . e sym, _0 ,S, ma .. : r_3, $1, _ ,es.lg;lIs, c,o~on, a-n,~_·

use witb'in a culture fascinate me, I ft.Dld exeitement in lelvc'l:y 'pilas1e,= learnlng abou·t the culture" selecting the yarns ;3'ull, beads and in ,,' be 'w,e,a.v~ ng,"

18

~'7'~ Lepidf!l;plera1by Fra nees Eysterl (,It~'ft) , The b rass 1ft nla is!,~ n 'tble 's hape IOf a buUerlly' and its, antennae of brass beads lies amid,st an ik,at, ... lik,e design also meant to represent the win:gs 0'1' a

b utter,II,Yj ",'

•

20

'Beads and Threads

5' ',. Asian-a.nt" ~ I by Ileen a, .,h, affe mart .. (top 1,ft) c:,· ~111' 'T.!l- t I' 'b n ' !Ii _ :- ' ' 'h' I. ., (,"-...~,~ ·'b- t) ;;:, "~ /I_'_. ,rQ. ,J(J;l:2., .y I en I' I_ e.lue. ma,n~,' "y . rtg .

21

6~1 .. , T~p.'es·try Neckpiece 'w,iln Heart Pendant by Joan Wac'k~ (top left)

62 .. Inea Kilim 'by Rebecca Toner .. (top :rig;ht)

6.31' Sum"l·tlr~' ,Joy by J'oyte Co.' in- ··,usbelt (le .] " 'Summlers J~y' began as s'n exerclse 'while

teae bin.;: my first wo rks bop in. ttl e tee , nique fo[' .m.y 'gu.ild. members .. The experience of' .eadin.g the workshop became very r:ewltrd:iu:.g· as, I 'wa.-Iclled the' D.ec:k);a ees t:a.kin'g SD ape, Six. of 'II,S wore fiu'il!i:bed n,11!(, .:~Iacesl to our annual genera meetmg' :" . M····· . '"

In .... ay,~

22

~4' ;r" - ~' .• i", ,..1- :IIJ" l' 'b' . ",1:, _ - .'"',- - H- 'd'" ", (t .. " I' 'r~l) "('-

IU ~ 'ii' U II. Be", ,.liT O:~" . )''t' I, rglD Ul ,U, -'-..8. _::~ , '_ Oip ,',e ', ... ~-

d ,~ kll iIi'd- h Ii

1.:511;11, :II1Y' n,eC:~'·'laces ~o p,roVi ',e' tl a [, 'U,JI.q'u,e~1

dramatle statement for a, ,pa.l"lie'u:bll' garment er grolll.p of separates, The overaJlfI d.CS'I:gn, the co lor a~D.d, shape' orf,e beads and ornaments 8_ud "be co'hlr' and 'texta're ,of the threads are all seleeted quite:.simply 0'0 tile basis 0'-- bow tb,ey' cO'm': 'emen,f 'tb.e m',,1e'Rd,ed 'gar,m,en.ts.,

~'Tbe or-igio·. d.esi;g;a 'D.so-a'ly 'eha'ogles d.uriog exeeatinn as 'the 'beads 3n,d tb'('1ea,ds; !evol"l: into' 8.'0 in;t~Jg;ra,ted s'tate.men'i My wo--k reflects my' p,a,m_3,6.ty· 'to .t " IOW,~ D,g: llnes, antique s:i.l.ver· a nd the

'-"-1 = ,--- '_' ,t, 'W"" -}"-" ,.-...1! '" ,II '. "

co, oln, .m,a.Ken, a, , .. rque se ,a.nu, purpie,

6'~ lJ1'en'o'es .A,n;gi'es bY' :Eu'gc·llIia. '" _'owliDd~ (lce·ft.) '~~iTweD·ti!es A,ngles W':IS designed using . he Arl'

N '. ' :.,,' , ' :ii __ - Ii - ""'IJ.,, iIi!!i;, IIII1i a'D' t " . " .' " th , :- - -I - -:- Did th e;n

,OIJl'Ve3,g pm In Ull.~ 1;.'1;; .. er as a rneme :iI,." n

wo-r.kiD'g to !i'el' 'ilt off" 0 best advantage,"

.23

67~, Song' olIn-dill' 'by EUltD.ht Nuwli.D.,. (top le,ft)

. "T be "disc us !;,i,O'D of I n dian _ ex,_ iles ,in Helen "5 chis 'I I and :0 'gift of'lnldia:n ,glass beads: ,rom a '(ri,end w'h,o -- _'t-: rn~d' from an inCl-iri'ng' trlp through I'md. "'a

re u 11;;; _ _ ""p"""" = _ _ _ ;__ _ ,I

, , ' • I .'

res u ~'fed, in this piece ~'~;I .

68., Fertility by Sb.leUu-lVIiDer .. (top 'rigbt)

691 Afri,,;a'H' Ad"r/J""ent by Eurla, F edel'fI!c 'I (~,eft) Note the use of l,e.B't i er an d p'a"p~'1i bel,d.I;, i

iO,~ The ,1Jgyptia,lti Wa:1 by :E'Il1ria F:red,er:ic 1- I (to;p l~,eft') The 'U:II,USu,a] C'IMU re ad(ls :in terest 'l-o th e bae of tb~isi piec'e.

1')' ,,4 Oil. ';,$" .: ,1.. .. , b E~' ,- - FJ, -""d -""~ ek (tap '"'. 'h'l) I,!! .;" .-'uppe~: .",1f1l10W I : y . u.r a,: re.· ,erIC ":'~' -lOp n g, :! .'"

This ,plec'tor~J is :a,cituall:y' a, pn,ppet S' 'ale witb a meta .p IllP, ~,e't!l'

72., Fallin. Lea/pes by'M:;o •. ~ K1lein (' e,'f_') '-'My d,~siign,s fo,r' hese neckpleees reflect ,m,'f gr,l,pb'ic arts bat ",gro'und, '~_ nd t.rainin'g .. T,h,ey' ,a:ho reflee . my' blve' o,r" hie Seuthwest ,a:ad tb,e tim,e' Itye spent

there - "

1 ... • ,~!III

,MI~ "K1ein,~ whose ,maJo 'i'Dte,res'_ is fabric iCo.lilule tapestry, 'wr-{J;te a'b(i,u'. several ,e,~,pe'_, im'emt;al p'ieces slle was, begi.nooing,. These i.vo.lved dDlllu;a w;ar-p:i:ng' ,P atterns, such as radial w:arp, crisscro·s,s,ed. W~lll1', 'OlU lti:ple layers, of wa~rps, a.n,d others'i' lJD,d'l.g,llted 'by' the· p,roble:ms of .m.ovlnll Ul.'to aneharted t1erl"'itol"Y; ,·h,e tackles them as: 'they ,confm,g,t her 9Jld 'i's ea'rnin:g' rom each as she

:11 ro·ceeds.

Ch~pte:r.' One - G·al1ery

25

7 '1'ilLI I ,Ii., AT''"' .1..' b M' ' 'UI ",. i· I f-:t') _.3.. ,lrJ,OO'n<ll 1 ,~gllt -y' !! ",~ AlID!! ,'I\Up em

26

AD· ,·fA.N······'·',·C·· E~ D· .. ·· S:·,· 'U

·ft .~ .. ' -." .. ,":'

The' following photographs typify t e range of'expression thai develops in, . I, 'len 's speci: .1- ized IQ·r advanced clas scs, In these classes, I elen explo es the textil s and artifacts 0 a culture with, Jler students and goes deeper into the intricaci 'S of needlewea " ing, The following necklaces resulted during a special class d svoted to P- e-Columbian ci Iture.

76~ Meche Turquoise and 'Go'ld by I·h' il:a . ~Uer~, "top I,"fl) Tb - stepped :geOrmetric des""IR,' of

Pe ru \1:1::11'11 texti les i n ~ p'~red th i s n I c. I, ':Plj eee,

77 ~ TI'tl"i "y ':',beila Mil er, (top rlght) Thk I piece showcases I, replica o~ ,3'-0 ancient Inca ceremonial knife

78.. UI1.'titled -, 'y : ran ~ es E, ' s 'er" {I,ef J " he 'Iumt-ltke elen ents were 'ror~led by Frances w 0 a lso C l ea ted th e ra ku b fa ds,

Cha -ter One ,_ Ga~le',!y

:27

"'i ,RolaIA,senfll 'by Gretcben ,P:rewit\, (-op le'ft)

T·-bi.- . -,I!;,,- - - ~', - '~( -', '''d' ," t' '1-., '-, (- ' ','" iet _ ,iii:, _, __ ,_,~,_,_iIIi- -', '

IS pleee~s IJ use _ o,n _III e ,glto,m:t_ rIC wea,vl.UI

'-,es:illl.S,O' Inca textn,es~ It also features tb,e brass ,S he I,s OIl a :2~2,-ca.li'be r ril,e~

's,o~ [/nti'tled NO;i I 'by ,J'immylen,e Wertmalt. (t~lP ri:gb'l:) A p,orce:la/"n 'fetiH'I,b an d mac r,I,'OJ e' tecb,Diqu1es, add to 't_ re Interest of tbis piece ..

8 4' Un·titled No: 2 'by' Jlmmyleo,e We:rim,aJn,. (I,eft)

r- 'h " i! ii' 'Il r- Id-

me centerpteee IS a, m'D'Sern'll rep,_~ca (f 31g-o ',-

bat ... m,8'O, 3, Pre ... C(dumbi'an. adornment made'by the lost W,3,X :m,e'holi .. Abalone shell ,.ilc'men,ts and Peruvian beads are .:Is.o 'us,ed I'

28

8--'2" 1i1·" III' k b . 1-) '" 'S" 'h-' ,.j:'If' :. ,_, ,. = (,t 'Jeff~

'_ '," - ~ ir''' [~yun' il"j'tlS,_ _,Y ,e'en ~" - If111, er m,;i ,n I! ,,_,0 p - ~ -' )J'~

,83~ Untitl:ed by Ph'y~Us B,aeyl.- .. (,-top ri'gbt) In tb,eir previous inc:arn,ali'on the iD,c~sed clay whorls 0:0 t __ is neck aee we're' used in pre-Columbian

civil iz,artio'n.:s as sp i:n dles ~o Sip'. n, Db e r fnto t h read I!

8,41 Unti'tled' by P'hyUis Ma'gr;a'b~ (left)1 Go1d,e'n horse pin on a needlewoven pendant,

7

~ I

. III .'

III II -D~' -elll - 1 .'

30'

...

Bea ds a,':' n d T' hr ',' ead .'

,JI:J.~"_ .... '~J :.1 ,," j ,"' • ~~Sl

00; '1\1" 1..1 UJ;; II II!... E '~'~-" . II'" (. II f"-) tfo.~ ItOp .. ,e· rr:ar"o·, uy : ·Ui:g.enI3 ..... iOWlIlo", • ,top Ill! 1

G·'· d -- - -. ~ , ~. '-. -U~: ,'. '. 1- ,t'il,iI;. - d' II - '.. ~

..... 01 • museum rep. ,CI,~, mu II .... :~ ,~_.n:,. ,clIos,ure.

Dtt F"'l':· ". ,. F:·'· ,.' Pi ,,- J I.. . '~:d'-'" ."" ..... ..,_ H"I ·'11 ,- ,A (."t·,·, 07" .: ~W'JJg _.·I",rlg ee'l.ora, uy _c. wall.ttI .' y.~an.IU .... _Op

t.ig.ht) :0 angles a lie of' carved stone,

go. NO'z;cfJ ,HuRri Pectoral by ,J'O',3,nOIC Bast, (]~ll)1 The desi"g;n of the i~~t'erloc~ 'ing ~'~C':s" is derived ~fr'Oim, the Naz,e3 Huar] of the $ou'Cb eo B,S t of Peru (ea, 700-1000.AD). Tb'is choke:r !"l3ile Is woven, flrst

iII1I;. D- . n a;,p II.. b' IilmiI nd th an ,.,IL. IA 'VA rt: ';;po II ·'W· ,;rnlll"'p"~ a'l"'e' I~,~ _l .~Lft. IAiI 1 ._'_l l_" -I,.r. I.~·I ~ ~ .. II!HIr-ull ... 1M· Ill. -~ r3! _'_ II •. _:__

attached to the b:and to create the pect'o:ra,~, wii'th gold.en ~.ang~ es,

•

3l

.: .'2, Bi'pd Pin by M,a.ggi.r. Wheeler, (below) 'T:ltis earviag of a, bird's head w: =1 co ~ _ pleted ~. it' B needlewoven and beaded ·bod;YI·i,

32,

'8 d d' Th dl

~.::J~ .. I. '-.. ",-. ~ '-~l

··~·.I. ,'. I' I ".'

.. _,a.. an. '_" reat- g

D··' 'Yt-" .' ~-::-

. ' .

.. ' " .. " .. ". .. . . . "., ". ",: -'.. "

'eslgnng \ our

0<-···· Nee .lace

S ::~~:~n:r~kl:~:;~~~~:d7~:u~,e~~~!h:~ :::~!; ~:~t t~:

designing one of your own, Whatever you, decide, this chapter 'will, help you, If you, wish to use one of th .. c patterns provided, move right along to Chapter 4,: How to Make Your Own, Necklace, and come 'back to this section. when you want to make a, special necklace 'with your own. design,

Many' people doubt their own creativity, 'They don t realize that creativity comes, a glimpse at a. time rather than as a blinding revelation. Each small step we take will eventually' bring us to completion of a piece, Often, those people we thi nk are brilliantly creative are building .•. _' on the, work of others, As,

, ..

Thomas Edison said, ILG,"~n';u"~ ';I~' '9:."'9' D(

. "". - .._.II.ou, , ~u,.w. _ " . !Ii.,!' . _ ,11., __ ..;J ,~,"" . 10

pe··.· rspirat ion an d 10/ in .s '. 'p" irati 0'''':''1']-:- '", LJo' ',0· :.k ... ·

. .", jj]! .. g, .' U 1 • -.. . - 710 .. ,,' , . ' __ " " ,&;111 I _ • .w. ',.' ' .. " :_.. .

, '."

around you fOT ideas and translate or

interpret them into your own designs"

'YOiU" may wonder how to 'begin designing a necklace, Like many problems, designing a necklace -, becomes 'more 'man-ageable 'when Jy'OU.

brQ',....11 .... 'l":t' in ito its comp onent P ,;n,~,~1 The key elem .. tents or build in g' b '110, f'1iit .. ,~ '0" ·f· :

_ ~,~, _' _ .1I_. ,_. :_'.' '. _ : ~ ~ . '_" . '_ I ... :. " '~" _ ~ dJ(, ILl) !II "_' ~ '_ ~ . ':: I" ,~)~ ,I_ ,=." _ ~ ~,Iill .", . . . ~ I· JL, :. ',J . IL .. : ~.~.dr\~~, I. ~

design with which we will work are color, line, shape texture and focal point. In working 'with these elements it is helpful tn have some guidelines for assembling them into: a pleasingpiece, Three such. guide-

]- in - .' ~It). ~:llr~ CJC''!f:1i 'II e': b C:ii lane .. 'e, and rh '. yt .. _.., hm . -.. Th' Ie- e· ···~·e···· ar .. ·· -·-e· n ot 'Inc iean '. '!"O"I b -e'. h' a 1!"1d- ijJj nd

J-. ~CI l&,. ~ !13, aJ. " .' u UJI..I. ,UlE; JL,. , . _." _ l' II! , ,~ .' '. ,,'. ,I",._ Q.., .,1 _ . ~,."" JI;H !._ 1 QI"I 'I

'8St rules but rather general ideas to get you started and '-0 help you learn 'the vocabulary of design .. , Although not an element of d.esign: we'Il also exp ore symbolism briefly To begin, :~et stalk ,8 little about each of these term e- .g'. an d ·s· ·e··e-·' ho · .. ·,W-:-" , .. a, ,,:Ib, 'e. -y.'.'-' !"1i'p'~ ply tin O· 11'1"'" n eck '1- ace d e sign .~

t.,:_., z,,,,',, :_'_ r J. _. '.::_ ._ " ,., ,_:, IL!l,,~ ::_.,_'.:,' U; ~ , . .:.II_·" .~ U ·,l,U!.1 _,I~ .. :.__~" i "~. OJ._ ~ .' .:_. ~I. ,': ,: ',='I!

,JtlSt as a c:nild cha,nges as it g1itJw~~", each piece creates th e n eed fOJ~~

J'l'ew responses as it evolves. Don l' force your .Ior(gin:al' idea during the developing process.

34

-', be Buildi'Dg Bloeks OfDeslgn: The EI,t':me'ots Co"lor'

Color depends on the compoxiti on u r the material and how it reflects light, The spectrum of'colors 'WIO see in a rainbow is merely the beginning of colors available in fibers and 'beads today, Due to, the advances in commercial dyes fiber artists are fortunate to have a vast assortment of colors readily available, A,11,d if commercial colors are not satisfactory, 'wei can create our own by dyeing 'thread with convenient, color-fast chemical dyes or dyes from 'natura], materials, Beads, too, call have an endless range of color'. Beads can be painted or wrapped with thread to achieve an exact CO],Q,f, For more ideas? glee Chapter 4: Finding or Making the Perfect Be:2IIcs for Your Necklace,

Learning to use color seems to come naturally to

~n'U:-]-9 p. ;I=!! 0··'1· le For n"!'I]IIi""I-"'IO:" o;;Ii I]]· ..... re structu red .;rIm

au, L!i,"!L..i! . "', ~,I ,'L.I~J , '.,. 'L.Jli" LI. ; ,i.iI!., lD.. " "I!t!."" I U II', " :', " L '., ,LI'I ~I '

p,nU1C h to understanding col or will be eas i fir than, . rial and error, Man-y books arc available which explain, color theory in depth, They describe the color wheel. th,c cornposition of'cclors, the intcrac .. , tion of colors and the' meaning of color We:: 'll give you a brief introduction here,

Tbe ComoI'" Wh,ee.l

l\ cc or wheel represents ,il method of organizing the colors 1'1£ the S,:PC etrum :3,0 thatvarious relation ... ships can be explored" The simplest color wheel shows "(be' primary colors (red, yellow and blue) eachspaeed at one-thirdintervals around 'the wile. 1. By mixing twe of the 'primaries we' ,get the secon-

~ 1- F '1 b ,. d d 1-1 IR'-

lu8'ry' ICO, ors, .r or eXlatnpJ,e'=I~Y ,m1xrD,,g: re __ anc 'Y' .ow we ge',l, orange,

w'bi.c:b is, placed between red, and yell ow. Similarly, yellow and. blue are mixed to give green, and blue and, red, are mixed to givepurple,

U- sually r ,!';!jj color wb ae'~ soes one step 'fu··, nthec me ixin (f primary !'JIIn-..-I

,~ .. u.1LII. ... '>tiI- i;.;o'uJl-· .'., . !ll;.;>1 .. 11. iid' I: 31 .. ,,!!I... aI!.L.,· . -, !l.Ll,. 'i" ,ItA '0 ,_., U·" !tIl,., ,1 ",' Mlt

second Ciry to H chieve tertiary colurs 'For example, mixing yellow and ,green ,g:i ves yel 1 O~~ -green~ This ,g1 ves us a. col U'[ \\I.h eel wi '[ 1 1 __ 'A' e 1 v~' colors (see figure : .).

This color wheel is Just 'the beginning' of color exploration. There are three 'as,pects, bJI CJJ 10:r: 'til e 'btu: or color name; the va.l ie ~ 01' its lightness or darkness; 'and the intensity, o'r how bright or dull jt is.

Tints of col Ar· ~ra. mad Oi bv addin 0' whit iOIi and sh ~..;II,Iti;et of colo ii'1ii - - - ade

.. Il~ ... ·.1. _ 1\0/1_ ' v,. U;:LI~,' JUlU.I,""" -. j t~. I'~ ,~ri JlUIII;;.i ~ ,... ~i. ,I..iLU",-,iL!I' I .... , ···.u,· .. r 'IALre m~l, - ,e

by adding black", It, :i~ even more exciting to work 'with colors "i1,st are mixtures of'many colors. YQiU ,may wish to 'try playing with color 'by' mixing colors withinexpensive tempera paints, Start with the basics, black, white, red" yellow and blue,

Color bridges are tran sitiens of Dolor from 011, e value: or one hue 'to another, Light blue 1'10 medium blue to dark blue: is a. transition of

f'igll-fie = ~ The CO~Q'r

\'lll e~], w ~fh 'T'ii n'tl~ and

Sh D' ~ ,eI", ,A. I[(llloi:r w lII_eiel COlli pm,v,id_c wahY Ideas (olr lC~II.o_r diiR'ctiom.s~ Memoll'"b~ the ,~,eque~nre' of CD ~orl ,:U]l eli :PI _ sC'f i _ e recal1ill1,g-b-eir op piOsi'tes om t l1e whlte'I_'· b,:f eemple:men a .. ' eo~or:sl' 8F1,d

t mei, r ,n,rei,O'b b or:!; roth e

_~ I

:unaJulIjuus, tfo:luo). Them

t-l;..l"'D~II", 'iI1lIl'bI'A u ~' ~,n;D·IIIA .00'1111,_

1.1 &. !iMl· . u" ~ ~!U!ll .~', II; U

tral eelers tb,p,t, I~o'uhl,

w'"lI:k 'w~tb yo'Urr seleete d ~ol 0 r; YOIl'" 111q 'Ili~ k',y ,Ii~j'ff' I 'cver,all :pns;~i_bUii.ti'es wm-th wll ie II -tu WOf'k ~

(CD.~ 1I r ~'J' ~.,'f The (~OlD r ',: h ~I~I , 'l]~ 7 D~ln Pi ~.lh ,\vle... \\',!!,s i 'e(:rvhi,a~, '4 917~H" M'~'IiI~f.(. .... ' tu rers ~\nd dIistribull:OtS or:1 V~IF 'Ii',j eery of ~OJ0f' \1 .. ,ii,e 'I~'."I

value, SU,Ch,l, colo" scheme would be referred to as "monochromatic," Or, imagine the colors of at glorious sunset which is a transision of 'hU:'C," TIle, sky might go from brilliant red-orange to' pinka and mauves to 'the soft gray 'blue ofthe evening sky, all with ,I smooth gradation ofcolcrs.

A· pleasi '" 0" color comb 11,.,,'altr~ nn ~!'ln res ',. 'Ii ,if; L,v "'e' loc,t~;n-- 01 p.o' lors n'- ext : ,: .. '[ i~gill . .I"Jb I~.: IJ ~ . .;~ ~ ._. ;::l .. '~-:'·~'~l~d'_I~".Ii·, ~~, ~ V1~ W,IL. -I} ~{ 0 ._:J~r'~"'~ !L.J. t:; ~ .. ·_:.·JL._·.·~ I~ .. :.~·~.L

to each other' on the color wheel, such as blue and, green (analogous colors), 10', 'by' selecting 10 p:po site, colors, such ,as. orange and 'blue. (complementary c 0'1 ors), 'More complicated color schemes involve three or mere colors such as, orange, )ltll ~)W and blue viole (srd it complement), Many cornbluations existand 'it's, fun to ry new' colors with which 'we: have not yet worked, When you try using different col ors together, note how some colors seem IDO change in app earanee, de pie nding O,'[], what other colors areused with them ..

Before '71 ou start work ing, ask yours elfff you prefer bri ght so ft, or 'more, neutral colors. Then look .at the color wheel, Whic,Jl color is opposite your selected c,010r on, the color wheel? Which coloris next to :it O'D, either side? 001 you. have a; second or til i. rd color choice? Imagine what color might result if'you had p,aint and mixed all these colers together; That color mightserve 8$ a bridge between YCYUf' other colors. By asking yourself questions like these, you can begin to select the colors Y'OII would like to work with.

There arc many, many color schemes to use, Start 'with a palette of three Of' four colors in ligh .. medium and dark' values, in monochro .... mafic or contrasting colors, Sometimes adding a touch Of' highlight of an, odd; off-beat co orwill provide I, striking accent "to your piece, Restrain - is the key here, however ..

Ts« best odvtce 1 ~'\Jier n,(!,ard regarding color way this: Anv hvo

.•• 1 • r , ~. I .' ~ .

colors 'wit i 'yt.lol~k togetl1\eJloo if J~(J N ,U8,e them l1!l~tll t)' t:}.[i,~d' color wJu:clr,

is a mixture ()/ll:ufJ lWUi II risina;l COJn."I'll For

'~'I',{1 1M nle ~if.'" UO~j,.Jd~id-1'?

~oi!!o' . __ i1~ :''Yor 11;, ill.. ;:~."' tf'~1Lu - _. - ,I;-

~ .

to M10rK with J"eJ,/o'M! ,QI1d -v,~().let; ~'11 adding' ,a ,dull ,grtly~gre,(JR (l'S' yo'~r rAi'ra color. TI!is u the color w'hich would result i/YO,l'J' B! txed yello« Clf'J.d' vio le t pa ,! nJ ..

The dull graJi'-gY6'e'," serves ,(1;8 a transitio«

or b'r~"dg~ h:e~,~c:'1 the }Ie.'ilow CiPj.d viole t"

D," , ,', F' ",!P7". '. ' .. "', l'~

- J(l,ne' I u .. :ge"Q' 'Cl

C~'ns~~,der !ls,i,ng ,at ,r east 1 .. hree vahses ,_, lig·rht,

f,'l Ibr ~ . ~_ _ ~ !J' .' , . - I

. .. ed "Ii' 1!M'j .n ndd: -, ,_,f... .f',""

nl~_:_Jw.", w·,~ ~. 1fJ.,QItC - ~Vl

tha t the neckiace lean he \1'orl1' Of I, £1.' puri,e,t,)' of backgrou''l,d tolD r'~'1 ,u't1iike QrNer a~'';,''! forms

..: t-'

'lvMi'ch hang OJ! ,afla,t

l1K.ill or a re J'y,fJ(J'

s ta I1dir,:g - 'H-'eQMtdJ le art is ~is-uall)i wotti tl,ga'~h'st a back~gr~_yu,ul w/~.b;lt, can'lhl1)J,

Ofien 1 am inspired to choose a combination of colors for a new piece based on an article of clothing. Since l buy erticles for fny' wardrobe wh: h are made ofauthentic ethnic textiles or are created by other fiber'

. ~. h kl

a rtists, t _ e -nectaaces

reflect the artistic talent of the- original clothing creator. By wearing the' }1 ecklace w·i th the related clothing, each

piece is enhanced. (See Photos 9j~ (page 32) and 94~)

.= Helen Banes

9,4i' This Afrir.a,o ... in.sp,i.red aeeklaee was, ldes.'ig,ned by Helen Banes to eemplement ' •. vest created by Maria:n G·a,rl)er~ Martan uled a IIU{ I.'fr.ic:o·o s'trip weave 'lextil~ fo', the vest, The vest is ·Mari' •. n's o:rig-i,n.al ~'~S,a,fe...Ke,ep,er'! ,design a,:nd features many pockets both ·~IlJ.side: and out

-. II!

me

,···.-7

TrJl to tliWJid G;'reirJ,t,i ng a

strine aero ~"~ .:;:.t.,J;j' 1L.I~';il, "-,~

UL __ ..• y . ...:_ ~_.'''''_ ... a~1 "JIIW-. I"i~ _.

of the piece, e:rp6clial/~ Itl Idark or bold ,,:rtpe

wn~jch eut» the d'e8,i'!~ in

'IO!I!l11

h'(~lf'v,isu'lally and

obstruct: the r/lytlzmic moveme "tl QrE't}, e .t(J,tQ,l

1r;J

'.' IthplJ:gh'.y,DU are' using a ,'nrEa(jed needle, d" n{JI,t' consider the process of

need ·"o1."',J,on'l,iJI;·lII'Iig.· .. R 'J;""::'H -f"n If-IJ'~~! ," _' .~ Ir'VC:.Ui ~'1"'~1?"~' ,i "lAII,.-,i 1'~V

embroidery or driaMfi:ng'

W\L':p.~... ,,~.~ ,tJ'LJ',;i"'[j " _';n. Til'/" ' '~'~I~'~I 'L-~'f' ~~~~~ ~II l~~il,f';Ij', I til;

A ]- ~ .. -.' . ,.-- .... 'm-' . '--, th _.,'.- told '.' -'1 - ",._ :t- he (. h' .... - - It" ". - "1 d~ ,~,;ii"!jj - ' __ '., b· -.,~ ... - -- ,h".~ ..

me, m.y ,,, .. ,0 ner 0,.-. me, is _, ',c snonest c tsrance oetween IL,'WOI

PO'~[]:t-:,~ She remembers this because it was the only q' nest-ion ',ShB

- _' ~ 1

'missed. on her high school geometry test, In making necklaces ' hough,

.-.-.- C'(-'r-'I', ' .. ,,.. .:-,.-- -', ... :-;--." d . ·,-b····- ,- .. C::, .·,JI;~·- .. · .. · .. th hort .,' :._, "I:'" -, but [- .. c·t'b· - th .. ··-·-· .'

w·e are DOL concerner aneur 11.I,OU10.g. ne I, '0 _esl'" JID- ,- ~U,-_, ra -. er _~ .. e

most pleasing line, [like: tOI think o:Ca line as, ia, :pa:th which the eye can fO'U'CIW' as it moves across YO'UI' necklace,

Aline can be wide or ,- ,_ .... -.': str r htor .. ·.1-·: " .... ,....:1- 'Ii,.,,,' rmeande .....

" .1,D.e can ae WI,_.IC Dr narrow, 8 -rBl.S ,·11 or curvea ... u,. can mean _. Jet or

move disgonallj Lines can be iolidor a series ofdots, In weaving a

kl- , - lin- ,I,.. ·t d b- . ~'th'- '-] d b 1 ,"'

nee L.: ace, :8, ,,- e rs erea ,e',_ -:-iy w'ea:vmg wi __ ~:_ thread or ,=y p ac .• ng a

series ofbeads next 'to 1~,aIC]1. other, Your eye steps from one bead to

'Bo·n· tether 'i ike I:' -: "-'-0'-:';' .~O" ii'Ji( -~ -0-'" ,. ~ '1',. -, -,-. ".:. :~', --' -, . c. +A 'j" ". :~. c .: . -'" .. ., -',! (6' --', -. '--' '.- 2~i)'

, ·· ... atner ,I_IA.'~ nptoemg.aeross s"e,p~plng stones m a nve I. -.gure -_,'~

L ines ,also serve 'to, define shapes, another element of design.

color: Needleweaving is m t:J10e 7rr,I'ated' ,10 th'f C,f:J'lC(J1'I?" ',01' si lie. s CTe'e"

y' ')1

t'(~J;'nH'iq:Ne or PQin1ting-~ Co nsider .i'tlstead' 'Ae 1~,de:Q ofshape« ofcolor

" ". - -L~,;JJ roo/" M~l'ng a aommnatum 0]

beads n'f'" ,;fI' ''''0'' did . .t'rnl'O.n 0",1"'

~,~ I _ ~l IU'I" ~ ~", . I~'" Ul" ~-u, '_ ';}I

thread. ,7l·~,_ .K

S!7U A ~I;JI Vi0i 11.0":' ·RE·· . _-- ~'.~ 'At ~DlJ ,JVll .. _~.:·" ~ ~'rz.n1'

Ll··NE· " '- _.8,:

, ': .•• ,1

, J. .. ~

,_, ,rJol'n ~ B'''~ :Ml,n' fi! - -~'~~;IL;!i':ll. 1_"U,f'Jl~d

The outlilll€! of Q hand provides interesting POI' sibilities for designing the outer shape ofa necklace. (seephoto 9:5)

~ Helen Banes

Anoiner challenge of this d esign process is the choice between twa

. xtremes of' composition: one is geometric and balanced design; th other allows shapes of color to flow in an organic lAlay; The symmetrical design is easier and takes a shorter time to' complete, whereas an asymmetrical design requires continuous analysis to establish' balance ant'! rhythm.

_, Helen Banes

Shape is a, basic element of design that could als 0 be referred . 10· as " om , or area. It re: ers to '~. two--' r three-dimes sional :~S' ~ eets o an n bject and the space it occupies, Shapes __ .Iay be geometric or free-

c. rm;1 - S>o" rj3. fam ·]·I'II:;~·v ',[fr -a-'m''- re ric : h- gp'le-Q 3···· r-··· tnan gl '. - rectanah :"

,1~, 1 _j!~ ,~"~",,,,~ I~_ =~!~!I!~r ,C' ' "~'':_ - ~ ,1_.I_.Ql,_,·._a .,'. ,I lL_l!I.' . ,1_. 1_ w_Q ~1._.-.1

squares, circlesr ovals p: mtagon .. o:" trap ez 01 ids; and parallelograms. '"x': mp le s 0',· If· ,: ee-fo mn .' shanes a- reo . amo e .b I~ ro·'· .. :. ks and he .. ·· tea r" d '[0'"

__; "__:'._ II 1--· . '~ .. ~' .... ~~. li.:__., __ I" ·u /.-~ ~:., a...LL~"'" '. ~-j 1_ ',:.._·...:...,1 '. ~~ _.' ~.,~, ._:__!. '.'.',

shape nf'paisleys , : I' igure .3)~,

Shap ····,S··· l;ll.~·e.·· C·' '0' '1-0' 1'[ ICBc·n-' ~o· n .... , y.--: m .. san in , ': .. 1- ar mse ·~'m- otions and

" . I . • I. !IL~.· , '. ". _. I (" • ' _ '.!, ". _' I ! - .! . _ ._ _ _ _' I". . • • _. JIi:1!I , .!'"lLl!

suggest associations '-:0 us, Who can think o·f pyramids without thinking of ·,g: .. · .... pt? Pe nta zon h .'.-. b com e syn ion ymons with 1J.'1... ... U'S

_,1_, ~I '"." tI :' ;-'1 .', :'_ '_', ."' Ii ,1'.1 " ' .....• _ ~._ "'. 'j " . l.~. _ ,'" .~:' . _! I __ !II ., ~II, "iIi'~"~

Department of'Defense -~I. 'cans = of the five :. i ded building which, this . ,g' . ncy oe nrp ies in the nation .... capitol, :j,qUaJi "-'1 sugge t rigidit .,I~~, Rounded IQ -_~~. S are soothing, Tal- , .•. hapes look dignified. Jagge I shanes may be exciting. Horizontal shapes arc staticand restfu .. "."., hil: diagonal shap .'- 3." dynamic and .suggest mov .. rnent. 'The shapes chosen fOI'=:- weaving ." - ecklace and the beads 'USI I .-, will help create th ~ .. personalil .. ' ofthe pieci ~

.';' lthou: h the overall

. I i Inl:~·.,.·" ... " ,._ . Il~:' :-_.' :' :.;Y·I~·. w;' .!-

. ·lzlr1;pe of the necklac ':. is determined bv ,''Ire maline set by file pins and: .,~. rp, [tn; ant mor

shapes can .. ' e' modifi1ed during the process of w:·tlvin .. g:. A.llrlwin:g th'e tlesi.: n to evolve gives tJ1Je th 'pTlBa~9ure of disco - '. ry and is 0'11" (if the' mo,~ t gratifyi'ng jays ~

40

Texture refers tOI the surface appearance ofthe necklace, including

_____ . __ . PI. ._.. . _~; ..• ' . _ . ..•. .. . J._ I .':..' ' __ l, -._1_,_ I l'_1

'. 'beads, an,d threads. It can be both seen and felt and contributes 'tOI

th " ., ,-. " ." '(I' 111"""1 'k" "-:- ·d' feel " "f=-" th ,=- "-~," -'-', ",.', 0:":', "",,, ''', ··f·" th '- . d "l'~' ',. ht '.' . -' f~ , ~" '··d' '~,

L te overau .LO 0 '. ana It ce, 01.. I" " PD,CCC" ,'. ",D.C 0, . ,I, ie _ ,C._I g, _.,_:S or ne _~"~,aC,-

wovenjewelry is, the contrast between soft, flexible hreads and shiny

g-I~a·" ~~, er m met a·1 b ea d: 1(1!l,_ li~i""'"' g' zeneral ' srn ~ ooth textures 3.' re m '.- ore fo . rrn al and

f • .a~ UJ 1 _ l~ -. II .. I~. _". <~,:IiJ UJJ .~.~.tlLJlj~Jl~I. t, ~ .. ~ .. :_.: .. lrn ._~. ~,~~ . WI., . ~. 11 ·.~~:rIdIJU.l Iu:lJI1' y

rougher textures more infonnal. Thetype ofweaving used in needleWDV,eD jewelry results in, a texture even when using th,c smoothest threads", Fortunately, we have a wide range of thread available '_,0' us 'with, almost any texture we might imagine, Tb .. · c fine metallic threads and even, ordinary sewing thread can be woven along with a rougher thread tOI change the texture and color; Be careful of' '\1'" '11 nubby threads", though, They are difficult to 'weave: because th,ey do not slide easily IC[iOSS the warp threads.

tve'afl fng Jf01rl ell: U enhane .. ' , t h je werl-like

I ,I 1'~("'.1 .

t}ua. ,!!tJ~ otyour aesigns.

li1,e ,s'f)fl~ fiexi ble textural 'lualfl;Jl of the t'1'Tea,J:S Q"',Q th« hard, !s'h iny~ t'ra'1'S"p\tl;~rti!"t q:~l:alit;, oj',the beads

provides the most

stim ~f,lati ng' c h ,,,.II e'nge iI1 creating a' d~5.£gn'~

o_e,·_e

. .

" '" ;:. .

" ,,+;;:,,', , ".' ", , '

,'ii; ,- . - 'C-,AI F'-iII '01- iii, - ·t-:'" T" bili- . ',", -, ,.L.", ',' -~, "",'-', -, "'Ai ,- '~' ,-, , F' -, ,i}. -:'f·',·' I -,~, ,', 'kl'" ,," 'C,

,·I,g_R ~'I!i' " OC au, -=- om, -rj,._ S IS UI,e mOi,S'I_ l,mpo.rlWlD 1\. ,1-8L u .. re 0 ' yo 0 r 11U!C . , 1I,(I!j~

'It, is, where the ey'e IL":OI,mits .- ,0 'res't':in 'ft:ewiln:~ tb'e piece,

FOlc:11 Point

,- 'he focal 'point is, the most important part of' your necklace. It creates emphasis: in R, certain area ,-0 attract the eye land a,C'CC1],t your piece, ,A fOCI] point can be created with :8. special bead, a ~OU'P' 'of beads, a button, a buckle, an UDllS,Ui,J object or an area, of weaving which will "biC "the: dominant part ofthe necklace, 10f CIOIU!Si---, for '~J'DC

Part to b ae d om in ant - other 'p: -iI"!i'~iF'" sh iould be sub ordinate .. '-', and ~I,~{,"I11~I'm':'~:

_____ . __ .. _ ' .. _,~ ., IJI " ~'I.~ .U.I .. I _ atL'rL3 ~ 'JU .. _·l. _' .. .:Ii ... U. '_ _ U.rr .. ,gL l.', • u-~~u .. ~

less prominence. Your focal point can 'be given more attention by' accentingit witha sma 11, amount 01:£';1 contrasting color, 'b,Y: creating Iines which draw the eye teward it, or by surrounding it 'with a shape which contrasts or complements th .• ·.·, shape ofthe focal point, [ lila: 1",0' think of'the ~:c· ~,gl- point as the "heme plate "~ Wh--~I1'- y~' O"'-U":'lIi'" eye ~'W: ~I~p-_:-I~

• __ -~ ' l' 1_ _' IW tU iLl . ,-' ',·1 I' g~ _._ J~ l U ~. "_'- ~a _ ~!I' _.. .U J , __ , -_ ," •• ~l ~_. "-i ,l]i .. _ 1'iiiI!!~,~' ..;J'

aCIlOSS your piece, it pauses and rests at the focal point (see figure 4)~ The, fecal point is: critical in defining the overall personality ofyour piece, F'DE ex ample, .i .• 'you have Ian elaborate glass. Of' metal bead, it could be the starting point for designing ,Et necklace with related beads and threads that enhance it.

,A.J~ewelry ~,.' ... :cl is i'm-n~ledl~a,lieiY Q'c.~ieve,d wlle',n' (J b:ro(J,111 or a combina tion of beads are usedas afocal

i, 'iM!

pouu.

I' '0 _._~ - -II D'~·,ign _:_'-·_·.,iD,~, T:=- EI,_~;e'D"'_"S

·.·:~·W 1 t's se how \1.1'= can, desis n ,3 nee c ace by [01 gani zina t elements of c···'O-'IO'-·:'iI"' line sh ap .. ·. textu e and ·-o,<c. '3,11 P' iint ' sin ia scale

~ -w' . '_'_,', ,iLa . .. '_ ~ "~I -' '_ '_ I I u.~', ) ,t.#. - - ._:'_ n ,',. ·~I ," .~ . ~D ,,'.. ~!'l

b-· ""1 §ftc:- 'Ie' .~"t'- rhyt _. hm '" r'

. IQ.,U .. _:_., ~,,_, - " . ll!

, " () - tzomai lines ,a-re' static. whereas diagonal lines create dynamic movement; Hans. H(}ffof.an.'~, the p tinter of brilli an t

,l bst '"

c· tor '_., stracuo; ,./,

,emp,h'aSUB'd ,th,e need

for a: pu~JI'A',: ull' ,e_ffec.t in ,his ar: Keep this in mind to avoid des!:grJ' tha: "I~ rii,i a,o'v-c itin -', M':: ,.y~ .

. . ~ iJ..;Il ~""IIi!~A . I e- 1. • ", I.-

Seale

S"I _"_': le 10-, ' r pro P··IO· ;111' ":" n r-,e "':-, '[Ii" to" ~;~'e·· W·'··' ay a 'po - art .-:'. 0·- r 'p,. ~ '~'-". re '1- 0.1."'. : .. - '~'O: th e

.. " -. __ '_: ,':_ . I ~. I. "~'" ~ r ~ , -: rW...:. .'. I . _ )u. _ '._ t1J. I ' L' t. _

W' vhole In m ... ikins a neckl ace th e t"P are two ""'0'·', aspects ot scale W',· .. '·:e,·'h:::.Q.'_'··U' ld

, .' t ' I ~I ~ _ ,i1..&-,_,,~-~~!fr.& ,~1Ii.!! _ 1U1~ - .!I W I~ 1 _ ..!LI-Q; .. ~ . l ~:. I.J '.' _ 1 ~ '. ,,1

consider, The first is the propo -.·iOD" of the design elements (shapes)

'W~··'_' .. r •. ich ,co··m'·· b :. ".< '[1:' .-- ak '.: .. -. up-·· th .. ,"···· A - kla e - I" y .. 0-' 'U[' -.:. ·h· .: ' ..., ~. 8' 'n' lid' ,- b 'e- ds ~.'.,.

,_._ 1_..- __ V . I" I •.•... ~ <_. ".~- .' .. _ -.-'t...... . ._.... . _,'- . ~. __ .~ _ .. '. _ ".:. ,I:' ",", _,1 ,- I,' __:_ ·:....:!_:_.!~L'

, .

rare small, they 'will, be lostwhen .'i,ew,ed at IB distane ': andwillappear

simply as "te.xtIJ .. re~ If hey are large;" ylOID. will have a bold design, For YOtl£' .. rst necklace. vary' 'the sizes of yourshapes frc - S,-'·~ 11 to large .. ,

The S,CIO- ',d. aspect is the propo tion ofthe ccklace to 'the size and. shape of'the wearer, particularly the wearer's face, t-or a person 'wi-ll, a large frar e. the ~: cklace shouldbe pro ortionately target, while a

.~ .. - alle r necklace would 'be a ppropria :Ie for a smal ler person.Since the: necklace is W'IQ,m clos e t91 the 'face" TLJ:s:e D, shape that i ::' flattering' to the, face, Remember also .• hata new shape wil I b -~ created, ifyournecklace is ""Iom.-~ cite lew beloi •. ·. the ·:.·011a '·; .. · .. ·'De'. -. fu .sup ~;.!o·; 0 for the weaving

, - .

. the P'·.- that goes around the neck) IC!~ outl ' ie a new shape.

A good way r, to I pr- rv "l'~ ew '." ·th" .. ~ shape an ' I d scale of a design ·1··S··· "0-" cut a

...... [".. On-' a . ._....',. r _ ~ r _ !~ ,__:. . _ .. ~ '_ .' ~!lJLUIII,. ,_', _ ,,', 1~~iI. .~ " ." ',1,_' i", I

. .

pa ser pattern 1W],d 1101d it up to. yourself in th ,. mirror To, make a

symmetrical D·· cklace, fold th .. paper in, half anc cut both side at .bie

III

sa:me tn 0 e_

firstpatming reach~ 'Ir' advi: ,ed~~Df)fJ.' ~ Igo for tn:e expecu id; s'afe solu: '·O,R choose the

most cha1.l_,Qging one.

When -> t, think about balance, the familiar balan .. c . scale come to

'mind. Balance for at necklace refers to the visual weight 101' :'IOi-'(: side compared '1_101 the other side, One W,f.),y toachieve balance is to make both si les exact -"Y the-sam ·:~ne. side is th ,. 'mirror image ofth •. ~ oth sr, This is refe red. to asl symmetry 0- Formal balar ce~, Since bo h sides are exactly equal, . verything is in balance S,D 'to speak,

Ano ther k in d D·' If"" balan ~e· t. inform al b alan ee or 3·': symme try .. In , .. 'L,~',C,I'"

j_,-,.I~~;,¥ _' "]." ~ ' __ ~_J.U ,I'~" II. 11. .. Irl'~:" M J _ ,g u.- ,-' .. ,'~ ' __ ',' I" .' ,.~I "J -L[U~

C3~C,~, both sides app ear to have th ':'am _' visual W· .:i,ght, _ ven though the ~WIO side 8, :ar,e not mirror i . ages Q'" each, ·-(11:'f .. Your fecal '~ .. oint

may be "P laced in th ~ C •.• mter, and .:. ubordinate parts may Of' 'm.I,Y· not be the satnl-' Ol:n. bot.h ::jl-.';: .s-. I ~'o·wcvler.- tll,eir vi,su.aJ we",gh""'l1 1110: bl .. ~ ab,--u,t eq· tw'l sO Itha.t~·1 d, ,'es'n.~·! '2,:-· >:I.-a - tb" t thle n:-:ckl! :tc [S' [l.avi_.r on

- "

one ·i.d·c fila: the otner~, Ifyiou p=acc: .ylour fi'.·:_:al p10in 10" -'cellter"- you.

m:ay wan': a point,ofinteTcst on th'e ,._pplo,:ite side ,einle:rs:ID.al.erbead'~. or wo'V·.,n'-Jlap=:"s, 1'01 ·b'3.1ance 'tI'1.e p~ece~

42

'-W··'· ': .. , - l' .: .. ' .- -. .--. ~"-- -'1 th , . -,-- .~ "jI., . f" , 1\,.",11'1--"'-

,'- e recognize -. e concept '0 ,fJIJJ tnm

Co - .. :. ,-- --;- --'1'" "'. '~"'- ,'. "''- d di,- '1' <I Rhvthm i ,-- ',.-. ~ ,,- ·t- ed

Irom, musJ.c !an .. , .. ·"-anc:e,~ J£ulY ~.U,Il lSi crea~el- ....

bv the interac ],,0= _ of all the elements, Like

I~: -

r, ~h,ythm· .,;,' ' . - ';-, "I', in music rh ythm -:- ,- ~I-:- ~-:- :iI;S-~ 'U-'~ ed I ,'T:O·.~ ~'~Ia; t· Jii=Ii' Iii'll

_ _ _ _ __ _ ~ _ ~ ,__ "iii. . _!!;J!' _ IL Lio-.->l,;!!i;;;,I _" ~ UI

- - .... '_ - - -

I h - ,i, - tt ti

_-'. ~'I'- '-,', ··· .. -,··:·:- .. -·=r-·c·_ ,---.'" '''-.-,-- ''' ... -~ -- .-.-.,',"_',';

regu ar .. armemous P'B\I_-,_e,m, or mo Jon

,"' tb ~ theoi D! 1... .,lL, ....... r b h ,i d

Wl nn 1- ~ e ,Pl~~C'C,!! l\Ji:yUJJ~u can ne aemeveo

in, several ways, One 'way' iSI 'to' repeat elements CI'U' c :1.] as Iin --~c; 0····[' sh apes A': .nother ·w-:·:~Igj'·y·'·-

I!!!&!!" .,' _N.:!! a· .. -J. . - ~ I.,. _. ~I ' ... _ .. '. _- ,~, A - _ ~Ji;l '", ':. :_, .. ,\;;!!IIJ.II~ __ ' .. u" ••..

. -, dna i I. h. 1'" h-

is to grae nate, IC':O,."O: "S; going rrom l~g;.:t to

dark, or' graduate shapes, goin,g' from large to small (6gUf1C 5)~

o

o

o

o

o

:r r .i".ft!f:;p ~"'friiif'd"L7" -r ..-:.·l'l!ilfI,/'ln-'1'" LJ~· ~_"''''o .D~IW, -d ~I .,j; 1II~'iIl'Jl ilil us»

'. lit/pes' and color CUJ7

l.ap·n~I""" monotonous U~~'L#.'·~·i&~ "·~llU]l'I'lV'[r~_· 'I~Vi~"

like a J(jh;lnyl..O'ne~NQt;e

S'I()'~g compared to a IS~O'1ata' or ;ZY"7pnt111)J,

Consider beads of a 'Marlie,ty' of s:nqp.fZcs ItJ

that th« long" '~~r"vw' beads, or Q line' ofsmal!

beads cPa' H b .. a-' lane I o· 100 ,u'~.W- _-iJ!!~ !!l:.,.-:.' i f',~ . ,',_ .. Uff~.· 1 .'#,~

fiJ'itlie,p'side: ofa large' round bead.

Still aneth ter wav to ..... achieve rhvfhm is to

~ _- U1~.JQ _. ~ .. _ JA~~J' . 1 ~ • I ",' 'W' ~ .. ~[lJ· UllJLI .. ail. ", ..

group beads together to create a, new shape, Grouping beads is, one of the most important 'w'ays 'of crea ting rhythm in ;1 necklace, When 'beads are pile ed erose together in a, group, they take on added importance. From a distance a OT"IDUP-' elf beads app ears

... - ,. .-_ .. , _1-: .L_j! ._ ~1If·--- ,--'-',' .' _'.: "r~' - '--' .:'.

as, a unitwith Eli newsh . e. On closerinspection ',e,IJJh bead is; distinct .. This adds to the ,cnj o'y:m-etlt ofthe necklace (figure 61~

'VliuU Ir.i!Ii ,~' Rh-" .. '"' )..'m"· ,~ J u C!r'

[I: JIIiI _' Ill! ~/ ,ail ,f.' l.J"· ,~1ilI ~ _I ~ (_. ', __ .~[.

'-I,:-:·liiik~'D fit'iO, bea '''.0: f ,1iliI m·oOilj"r-,JII'Ii,b· ... , I '. __ ~ '_.L L 1lI,~ U ~_:_J L '.' .. J I~IJ!J ~ __ ' g.u ~ .. _~_r

In 'g- h"iIliir1i'il _!- re p- - au 'im'"'- "g- p'iliI' ,-

l ," 11_11:11< ... - .1, '.\~J:. I ~ I .rIIl-1

,[ J _J I.

tJ II rt hrh

','" _', . '_' , • r "I d I

er:II.SI e~lU lUlp3" ,- _, ,r, I y .. D,

...... , "",,'11./.

tV a D,el:lUa_lce~"

AI h h b li ,. '( f d ,. I-

. '1"1 -,:, '.: .• ;-.: -r -::'1" "J.-:.' --.~, '---: . _ICC .. , -. ,-:, .. - ·c, 1'-" -.' . ( .. -. ::-1-1 '-1 , .. -:..-., :-:-':;:-'__:.. '.-:-.',- ,-:::- -:-;-.

ltnougb symnousm . .IS not an 13 .. ement nr uestgn, ,some peopie

'cnj,o:y incorporating symbols into the objects they create, A short discussion of symbolism m~y inspire ,f'O'D to explore this rich area, 'for

idea C'- -' creatina s ,··I',······11-""·'~.·I···'· .', ·,,·t-'b·· .. ,,-,- ·1,~··d:l·lI1 --:-:"I"~' - :-;.-.""-,,-,,,-,',~_:,._

(. eas ror creaung a necziace or 0_- ier ne emewoven aceessones.

WIllen we talk about symbolism, we are referrin g: to the meaning of Ian object beyond Wi1-3t is, immediately obvious to the viewer; Symbolism requires all interpretation ~Y' the viewer, In. other words, the viewer's understanding 0·[ experience affects bier appreciation 'of

. ~ - • - ~ ~ ~ - • _ - - ~ _. - - ~ ~ - i"', . I - _.. l. . . .. . .. _ j ~. q .: " 1. , _.... '. _ ]

the obiect For examp le- fiBD'S are symbols which CiO,'DV'CY':" meaning ...

"" ,. 'JC ' '." . . -" '.' ,. ,1."'0," -_ .. , ,. ". " .. 1._ .. · .. ··C' ,::- , ~.,'!!'

G f 'I . fl' b 'liz- th ,. ~ I

_'rou;p's, 10. _ PlC10P e create ·Ja :.' . ~ to s~ym. ""0. '-:~:e: " __ ~ __ "err gro'u:p .o.r nation. .In

mao,'y cultures, beads serve as symbols in, a similar wa,y,~, In the United States, Camp Fire Girls earn beads for various accomplishments, Wearing a. particular bead conveys t-o all other Camp Fire Girls that the individual has performed I, particular task, Among a southern African, tribe, tho Ndeb ele, a rim. of 'beard. adornment marks leach

oh ." ;, ef ].,~c-... fr .. , _.. 'b' irth , to d: eath 0" ·····,th--· obi ects ~,". 'd:--' . ,'-h' ',,,. '"._- I', .' ,"-. '11--' "'1

p. rase O. ne rrom ,'.lJUL O·.e.8.,., - , .. er 0 -:~.fU~~S, ani •. S. apes can ,aLSO

that each piece IDeCtJm,els:trrJ,nger' a" tt ,bu2~lw ,on~ Ih,t!: previous

experience. After

,,I teep.ing mi)ls:e,lf in ~fe:ren:c.r!s :tiJ'nd' tflx,amp',ie!£ ~f,'hltJ,

,~.;t,:~"c,'- :''ftO I '~.~D:..J' m l'i'9.irr~ w,' II,jJU, ,iEotl,t rf',I'~""U., .. U'f IIOiO

than one example; to express my res/J\Q'nse to !tke inspirrtJ 'ion ~

~

co,nv·e·y ,meanln .. g~

Every object reflects the values, views and traditions ofthe person or people who produced it, To i terpret a culture ·W:.. must try to unders and the philosophy of the people IOlr the period, How do they place themselves in relation to the rest of the world?' 'What are their beliefs, customs and rituals, and how are these portrayed in their

work? n'" - "0'- ;i.J., ~'y' ,~:- valn -., h- i!'1i'FIld-,-IW" ' .. '0'--" rk ,,?I '111-,- ,t!' 0--:' "o1---:~' I("'U I,~ 'I1''F,QiiI~ C1I'y. "mb' clic it g'm-'; ~ ' e : _ U 'l!!!I" ~ <, 1 .. ,1 U,lt~I'~:' "I~I 'lJ_IlI~, . _PJ;_;g· . .'_l .:. '.' '.' ,,_ ~- ',. '_ I aL.', _.~' _I~ ~ _: ~~'.'U=ll ~l~r:!'I Ia!;~ . .' ._1- _' . - '-II ,~ )_J~_ ._j~1

are 11.SB,d only during feasts. ceremonies or' cccasions, while in other cultures, they' are used' as everyday items as reminders ofsomething important,

If we 'wish to, we can create symbolism in, 8, 'necklace: by using i"""'o""m, imonlv 'un" dersto .. nd- l.;I:vm: .. ··:b; O-·1I,~. 'I-'f;" W':'··~' mak ->jIiI!, ·a,··· IFPd: - wh ~~,~: and 'b~;1'U' ,R,

tli-J ' . ' . l '[ J: '.' ,U ,1 .. llJ '.': r I r I,W~ '~I -, ','. u· .. 'i:J J ' . ". I ~ 'I!] , t " WI' IU : ~ l' llJ w ,'-', ..' I' ,&L~ ,IU., .'. ." .·1 . ,,~

necklace it :is likely to sym,'bollizie, patriotism.in 'this country, Ifwe use a 'heart shape, it will symbolize Iove. Some examples of symbolic shapes from other cultures lor' periods are shown in. this . section,

4·,'

--~-

.. i ji""' • ~

signmcance tn ancient

China. It l\1!tlS Mot only valued as a precious an d beautifuls ton e but '\vas believed to have sp iritual and ·ellen

mag ical q .. ual it ies.

, , .

Man)!' Chinese carvings arein the shapes of animals and we,re pierced so that they might be attached to clothing,· or worn as

. "

h-' ~ ki

is ne "C'" 'Q,' ·c· e

•. _",' ", I".,' o[ I

, , ... ' . . .. '. .

incorporates the ancient Chine'S:e symbol ofdoublefi:sl1 Q'S flus

foe al point ofshe ,P ieee i

··'r.wiD, '. -!O'UL 0"·0 Pattern

010: '~ an begin 'y~ .. ·,our' awn nattern bv drawing the outer :8118"",=: first

Cl ~~ lJ. r

(see figure ld) 311,d then illing in, with smaller shapes or by dr __ win.'g,

smaller shap es, and filling in the background or overall outl ine '1,1.8(.!, When 'you have your p em worked out, transfer it t'OI graph paper, (one-quarter inch graph paper 'works the' best), centering the pattern on the center line [of ~I"O[[[ shee ~,

To help yo'u keep track OIl' which 'P;IIr of wa threads you are working withlater, it is- advisable to number the location ofeaeb pin,

'Wb' .. ~n u DU' hav ~ the P atte m-' ' ..... '!!I 't"il CI' ~~ ............... ...3i, m" !'.li ,[,11.. ,~L i!=I! P I-'~' r" ~m- . ent o· -', pi 'I9iI

~', ;'~' .. ,i~--' ,[_,g .'~ . -_!I;.;o' panem U-[u.:ua:lLLlt;U, ~_-<a,;.A.WI,,", p ,u',~,~ "_;. ~:,I JL~.J pins

iil'~' fo ·IJ O···W>;'~' AC.T'O~,~:5~; the ,,'f}'lD of the P aattern pl ace a 'P-~ in marker III,::d:1l41'Qj'IJ

~ ~ l~ = ~ . ~ ~ ~ ~ - ~ ~ !!JIi - - ~ "r ~ - ~ ~ I ~ ~ ~ ~ - ~ I! ~ -. ~ - ll ~ - - - ~ - ~ ~ - ~ ~ • ~ ~ !I. ~ - ,.~ ~"ir

between the vertical graph ,- ines wherever your pattern OU.~ Iine c nsses

,a, column ofsquares. On the ·',0"'0111 of the pattern, place ,B, pin marker on the .g~ap" line wherever 'the patten] outline crosses graph lines (see figure l3~

lumber the pins a's follows: Across the top, begin at "the center of yalur graph p,~per and number the pin markers outward in 'bioi h

directions, e ,;. g;",

901'7'6-54'32-1' 1234-'5' 6' 7['9

0' .~ . .•..• ';_ ,., ,1- ': _:_" .' '. _c I, " . ~. I :,.:

Across the bottom again number tile pin marke '8 outward :in both directions. Note, however. that ,J:O,'U, wi.1lI now have a [, 0,11 a' tile center

, ,./

line for the •. center pin:

9876543210123456789

Cheek to, be certain that there is; only one pin rna -ker' in '1;'3Ch spa,ce between graph ]i[l,~.s and, only' one pin marker on each graph line,

You may.color :Y"QU;f' pattern, 10,[' merely indicate which colors you will use in leach, SP,IC- j (see figure 116)

,""
" \.
" ~
~ ~ ,_
.~ .... l·'
.
.IIi ,iii,

,
I

!!II
f
til
I
I '. "." :F,igun' 13"1 Pia, PI;a.c1tm,eD'tii After' €I r,B.W in [g, y,o'lI:r

P 'ft{t·' di'i""D' m· .. · I . r.lliii'

_ l!Al . _ ~IJI; I .. : _ -: '_.~_~ :: ~ lftu

ibiD Q,dO'PCl' W_,L.a,~, ,- ~. ~11 b.v~ '_" II~,~,~' ~

the ,- -:iB'S: 'wlU be

,

p,:laCled as :10)'""

lows~: O'D . - he l~p edg:e ,of' __ be _,3,' '_ :t,c,m I place tb,e marks ,Iuilfw'ay behYee:1I rh,e vertieal :Un[e~s[ wb.le['~, ever' y .11I_r natte 1'".

- iM" ~

L~ '[

, I ne crrOS"S,I:·: '~.. £0 _ "".

umn o,l :riq,u'3I1fS,JO O.D 'tb.1 -, b'otto,m, of you_- ,p,a'nt_ a, p,l:a,ce ,t:h,e marks

on. the v'I • .r.ti:t.al

'I io es,

I

I '.r

----,-

ea,I~. ' 9'

i£ ...

Ii}r" -_'

I .

'. I'

", ...

• , I-_',~'

N

,

...... - ..... .

.

. ,

". '.:.'.

"U"

" I •

. . . "..

'T'I! 'I d S" I-Ii:

LOO, I .r •• n.'·~ ~:Up,p,; es

In a. ticipation '0"[ starting your nee dace.jrsther together -h:,[ fol-

IJ '.~ . . ", '! -. g.~' :~ t-j, . 'n'11 ~ '0'

I r • JI_LII£J! 'II

. . . -

. raph PBp' .. -O, -: a qUlar'~_·r ... inch

~'d

. -:'1':· ,~

:·,.o,a!,.'.~ : , .'. g,l~ X 12'" board 'r on .. . arge eno _c [,gh to ~ xtend at least OD.e inch beyond aJ l sides of "be piece. Homosote '~,:IO~.; rd avail, ':,1.[ at 1', ',1-

ber yards sometimes called bulletin, hoard ins rlation 1-'O.Ii': or ceiling tile, i ) a .',' ood C,-. oice and it can be used,', evcral times, ~ oam cor ", 1 ,3",.", 'l',ble at: art sUplp-1y st ... ues .. ":,' iould be used in, :. '·'0 layers, It is not

a' trI, stro n g'" a ·S·· om ~ 10' ,'IS"'" ne ~ [' ardan it d oe ~ n 0'[ ··t hold .,' th ~. pins ~~. firm '·'Iy··

I ~ ~1'1.,1J.' ....•. ~.'. " .,1UI.l ,,'. "1,.1.,, ,~-u D, '; I~ •. _~. ~l, I', '_ ... _~ .. ,.. .I~ .. ~ Q-..iJ! ~ I',' ,Iii

, .. ". ·0 .. ··· o' .. ;-:- liO <. ,,' - '. - 10 d· I -' n··, _.' . ' 0"" .1 '1"\1 Jl:.'!e·' '~ p: 'l~ 'n' '.:.' m'"' . ~·t··, asi . y ..

I_ ',. J ._:_. ..:.... I r .' ". ~- 1_ , I I • ',. JuI_L..:I .. I .' . I ', •• '. • •••• - ~ ~ll '. II!

~ .'

a'p"-:- ill' I 'v 0"1 use hom o so te b":"03- rd cov er tho - e '~'~I(1I!1 ~ and sid es of'it witb

"11.' - I ., _':' __ 1 _-~w . 1. • I~._. '!W! ,':_' __ .. '-',1 L--U _ Lr, ' .. 'U~! W ",. ~ . l_~ _ I.. '.'. L~._ .• IL.l

.: '. ·I .... in -'IC'~ na s .. I";'OI,g. '3;. pe 0" r duct tape ·tc, pn 'v .. ' ". nt I'; "- rm -:0: akin Ig:-:-:- A': 1'· .. ····0""··1

.. ' .. 1 .. · .. n r. _ .• i I· .. !-,' '. " •. J u. ... ~ I~ .. ' .',' .. _ - I" .,1,.. a& 'I,.iii" .1'

\ I. • _.

use masking tap I .' to hold the pattern in :-1 ac '~

.' ltr i[ It p' 101 [I' houe .... 11 t' 1 d . h d' b d ' '~" Ig, . " ~ l' I~,:: ~"_It 1-; QIU,g ,I, frgu8[ pm~ 'W'[_.~_ ]: ~ ';" .' ,'cy "eo' I to -: en~ ,

easily, Super-plated, ·#l7' or #,2,1 gauge 1--11.2" steel pins are . 'ecomme rded, 'They' ar avai .able: to: fice "UPiP~YL( ores ~" '.'1 bankpi as.

_ .. pins and push pins catch the thread when weaving land CS,D, be ,-~ .... strating tOI 'WID k ' . tth,

·" __ r'. ~·'·Jd.- ~_-·a, '.' threads iT. rm the sn ~ cture oftl e piece and • arty the 'beads which are- strung ana them. I usua lly L1S1e an, ] 8-:~'atJ~ge"

hree .... p··.)-y .. '-' -" ed linen C:-"'---:::I - ·1-~-I;I!:ii· 1,- .. '-. my·'-' -!!!:I" ,-. - p-'r- .,t_,- it b--·· C-!'l1l1'~'--

_ -.' '. ' .,. '.' __ -_I "~_ __ o"!,. .. W I....:, ~_ -._' L. " Ur. "i' ',_,', ·L~-· Ii. ", QUIg'."

. _ - L

j- is b.· : vy enough to supportthe beads, :t gives structure to yourpiec .. ~

and it is less :I'~' . - -Iy to be snlit b_'" the D- ,·-11 ." wbe ",Y'I: '~ ._' eave, (Sec Supplies section for sources.) Any color warp m.ay be used ~ __ secause ~. 'is . -: ost c pletely ICO-,', in hie wea -iug process.j-or lighter pi ees.nowever, itisdesirable to U!i-:B light-c lerws I and ford .. ker pieces ablac .~.'_ 'brown '-arp~ Ifyourbeadi ' .11a .... e small holes tryt "sin~, a - ig iter weight '-'-" -1-.: d. DIO, Dot use mo ofilament li ie tor the WO'rp

thread, because it esults in a very stiffpiece that will not drape to 6_ t-· L contour of the body,

01 ft--:-:-· . =''. r' ': ~', ".:. . T< . - ~"." I·-li!il ":, .. 1 "-'1_ 31: Perle .': otton is u· D' ide ~ y" '- ,-- LO-

'n ~. - ~ . . . ~ J. rJ - ~ • • • r ) .1' "!I! I' '. _. '_ l_1 _ _::. v:.. ~. _. I _I._ - _I _._ . _. . .

,c· ': ,'. v· .:'. :. 1 W··· ith ~ - /- ""1;' P'[ C' :'0'·: ' to n- . t h read -::: d - esi Dfll ~ d fo r t.,-<if'[< 1'" -' I" n LD W' - .. '1"' II als ,0'[ w-~: 0, ~_,..' .,

•• .I. . .' Ii ._. ~ lLU~. -.. . 1 =ill ~w _ I _ W~.lejlLllj .. ~· _ ,.11. 1LU. [ , , , C' I!!!' _,. I P. _ ,_ !~ .•

• ". t, • :~1-] p--' earl -- - y .. o· n·· s· ll'·k.·- - -If synthet "r~ thre . ad g. -If~ .. '-if'nl~'~:' .. -W·': .ll~"~~b· t;·'···· .~. alli : .' .. -.

_-._ .',' ~ I', _Asl. ,L I" ,-" ': •. - •••. ' •....•.. I 1.,: ._ ._~ __ • I~ __ . [I. ' •.• ,I UU::I_I. . Jr" __ I!Ii .' _ 01.' "0

threads .. fV'A'~I1.~ WI ... izht ad,l"-, ~I~' arkle and m y; be us ed alone or 'M' b

~'[J- [~, [01 l '

other thread. (Photo 19'8 .. )

-. -Ie.i![-~IO:-·'·': " ",' small needl. .·work scissors

-~··'Iee.r~>:l: Use '#11.,:,. #'201 . r ".1'22, tapes ~._-- needles for weaving, ; h .'--~

work be st because their points are somewhat rounded and they are

ess ·_.i·:._ ely t·, ~'. alit '~h'IPI' ',-'31]1--' ea -,d- .. s~ orne p ..... - op 1 ,- ike to -[ ··C·- m :. the t ip

' _ _:_[._,II!JI. .. ' " , ,1'- u,~ I ;~I ".' ~ __ ,__:__, I _'_'. ~ . •.... =-JL,.__:_ =-:__: •• ' "'!Iii.J.,!...

. .' :__ ._ ~

of their needle 51i·~~htly to mak,· the weaving prtlces,sl easier, Ma~y ·#20

1- eedl ~s car aebentwi hourheating. Ifyou wish tOI dothis.w ear sarerv glasses or bold, the pliers andyourneedle under II table wh ·0 bendinc it just in c'· .se 'tb" needle brea "S~ I lold th needle in yo:;r hand, Use your pliers to bend 'tb: ~ tip ofthe needle ab ~u,t 1/4 inch from the end at l~ __ ~ angle 01' about :3. l, Some ne _dl=,.s; neeo to have their temne removed in or ~er to mak then less brittle .. To dothis 11:],r-, the needle witl your pliers anc heat he needle until it-is red hot Plunge the

r "d.- -h iot nlc.'·-.:e· d le in .. nt IC-' .d- I-_. ·'~r '~·i!"!ill c .• ' 0·:)'0.·.··-·1., B. ·· .. tend g],~: d .-- scriber -

__ . _ . _ "_'" W !I~ . _. [_h ~[W . _' ~ ~ _ . _ . 11U. !II

" nere may be tigh .. ~ places wl __ .. ~ i" 'will ~.IC: difficult to weave, A. curved needle about 1~5U from, tip "-10 tip; works we .. llhe re. Curved needles with atapestry point are ", dher difficult to ~Ind,! However; curved upho stery needles '_ re reac :ily ~ .. vaila '-Ie", You may also be __ ble ~I I'-~ tain surgical needles, .-:.:ruc· C' orne i .~ a variety of.sizes, Dull the :h>_'- - points ·w·~'tb a file or sand .. paper,

_~,Ie_'= :-Oll'-;-!- ~',_'~_:_:_=,s 10 ,'- ,bem,o't_~t: I .•. :pl ~I ual Needle nose plie s can be: used to grab the needle in 1 ~.gb.t places and .. do w'b!at 'big ":m.,gers

·-,:··m--;·-etnnl~'-·'~I.'!I ··'a_'·lnD' ··o:·t ,··n'·· ai'_' ':'. '"'11' 'v .. ·· t"o:': tb--··,·e· "-~'I~lers. ·ric:!!:ri I..c: I -·o,··~{,--:-·t ~l m-,-·rt:iii.di· -~!Ji'i"ioa'l

j •.•. ,_,.'_,_ " 1.1 ,\.fa ',' -. _ . J' . '_, I " I . D.- . . I ...: __ • ' L ~.I;,_ lI!~ CLUl.·, . '.'" " __ . _ LI - .~

'(1001'1 similar'-:O .3, S ',8]1 FO'flcepSI with. "im.e""poin,t _d ends ;an.d, han.dl,s tllat llock mto pl<cCt '_-"r>U ma:y fwd 'th,cm 81: drugsto,- ·:·8: h\.-·-:spi'- 5;U. 'ip1iy lo~-_'Je':'.:- Ol~ '(:,21 'm~ rkets@ ~ ", cbrow t¥.{eczer~, IBvaiJabl. la COSIDlleti.c:

CO'U -:: .~'-rs.,. ar-~' ano,the _'_' alt. mali, ",~I,;,

EI!glls.h is- 'I I tOI tn IV '1/ 10.1,..ast u -c~'-rL,J.'l1t, lori i 1': llv

I "Mil " - - " -J

. ons i'a. -. : . 'd' IQ foolis II

. U,I. _. no. R;a 'I" '11,,:, .' better rtlUQ, :'rstaI1ding' 0', t Itt! t. rm.

'~'IB'Ee _ (T .'bl-: Fur -'-:: To b1elit lb~ we, _~, threads lPll~k--'-'- l-'h'tly

to aeth r) u C!.~" '(\!I'A"iI,'i'JiI, 1 p'r'ong 'd d' G'IIi t t""';ii:t; CI, U ..... 1",1 a!Q!l' ~, 't- ~I b 'I ~ fo , ... ,'l ..... " r' i§ comb '~~_- _-_:,~ I_.jio:l!~:' - ~'I.:iJJ'~ l~, _n-_', ',~ L;!""III!~!iw~ ~, _U.I, : _Ii " -u,'J,I~: l~,',~ I", i,,' U, ILt,_1 u '

wi hteeth 1/- '1 apart, To begi ~ ',' ,/ ith i any table fork willdo, Later you may want 'to' substitute ,8. fancier 1.10' ,- ", or other implement, It will make weaving Jus: that much, more funl

B ~aidl': Beads of 8rny' material :may' 'be used, including glass, plastic, m etal bo me po ,'I-'~~r~ ~:II,~v_ ceramic or ~'-l-I~,I-, They rn mst have a 'I~,O:'II~

wt ,." .. ~JLw:. . IJ !IJUIi;~~ ~~~j"1 _. _ LU,~ .. _ _ ~ ~ ~.~ 1 ~ I~ ~ ~u. __ ~ _1J! .I~

large C1I01ug11, to slide onto' the: warp thread and typically ", hould ble: less than 1l2~1 diameter in order t'OI fit between the wa threads wi hin

,

the weaving, Somewhat larger beads can 'be user -, at the ends of warp

threads, but plan to le ave space around them so that they hang freely, You may also 1JtS, '. buttons, bells, buckles, netsuke 0[' ojime (antic uc

... I2tTV'ICd 1 ianese miniature figures with JIO:~ICS)" medallions, 'OI any other perforated ite n ..

. .• " 'arp En,diD,.~;I: Warp threads which have beads at ,th,·. 'ir very ends require S,O'Ine means of'preventing the eeads ,.1"10;01 ccming off '. 'rimps (small circles of'soft metal), 1 . eishi (tiny rings, ofrnetal or shell), shank buttons, charms, links from a chain rings and many other items, can he attached to 'he, end ofa warp",

'il!~ld Threader: A six-inch piece 0:1- monofilament fishing line is, convenient fOI~r stringing beads OIl the warp threads, A crochet aook (size ]·2 ,D'f 13)wi~:- also work if'the bead holes are large enough ~

Frat Prevention: For mei allic threads . hat' 'end tc fray, :3 ligh application of'clear fingernail pol ~sl] lean, 'be used to .,g"lJic : j[;blcn,

together Hind prevent their fraying, Alternatively there are commercial sewing aids such as "Fray Check" which O]:SIO s-N,e~

this purpose,

::'t~- ';'HiK' "m!lli, -' ',' "-':0, 'I'Dr' _' w", "-·-,"-a,,' I' rp 0', .··.0-'",0,'-:-'-, T"b'IIO!' W'-"",,"'-'O"I'"-,--_·lln- '"" B:.: Ilqrid~

"II_~,., ,- _I ! , ..'" . ,,_,IL, , ,~ , "_ ' " ~ g _ __'

'. • - • - - • j

You've already chosen ,8, '--:1.'_[ tern froin the previous chapter

I. l_i 1

" r have drawn one yoursel -~ Now it's tim. to' glct started, ,. '.,.' ce

one step at a time and you' 11 soon 'be weaving, Tape your graph paperpattern to theboarrl, Each column of'squares on thegraph

will indica - ·h - a nair of W" :Am f'L,_ .... ald· ,(!!! will be placed

,-ap,er 1 mmcate wnerea :p __ ' 'i_.:,,~r.' ~LLJU:;a'~;_-'J, -,~ _J,;",~i~: 'Il

: __ ::' you, have colored your pattern you may wish to place a, piece 10.1' tracing 'p'aper over it to protect your thread from color 10"0. ·1 be pia' tern "pla'pler nl,'bb:i.ng, off~ (P'hoto, 9'9)

Ins:Jt pins.. :at 'fhl.· poin'ts m_Blkied earlier on, yC:llr IdmW[og. Pins '.~··h'Ollldi . be pTa£: ~dL at an .bJiq·uc' an.gIle, ; -_.bout .30,-45'0 81 "ring 'tilem, 'to,ward ·th,le'tlo1p ,a,_~ ,tl~.c top 'o'f,th.e pllece and 'OJ'Wllfd the: bottom B_ ',.' ·ie bOlttolm, oifthe pi.ece· . in other words- a.wa)1' froml1, 'tl1le degign)~ (S,ee fi:gure: 17~) 'Note 'tll1at yo'u'II]

h~ 8' "vt:!R; ~!n [- 'lin·· ~·'·.!I'p'n' n- um- ,- b· Pir-:-' "'-f- ni~'A'!f' '!lif""rn~c t' 11.p -b-"c" tto"'m-"" 1i!:1I"n;',d" g,'1i"iI -IV' -111 n--1I·~·'bp.:;[-,-,

. I· .•. ~ I~ _'i!.l 1~'~'I~_r' _' _.,,:. __ ~ •... ."~I_ 'ul.~ 1~.w.Jl...lla1 I~ ·U~i~ -Il~ _:oJ""._:~ ", _; ~ J _,·.1, [~I!!I \:.__. ,_. "~ ~II 1_·'~1 /~'-;..

o,_·:'pm.s aero',ss tll,e 'WPI,.,, 'lleck" (] be :s;ure 'that. fhe 'P']D, are 'pbu::led. clorrectl~y~, R,i", m_ rn'bcr that 'pins (lCf'OSS, ~he" .op go behYaen Ith" gr,a;p,l1. paper' '~.nes, !an,d -3cro'SSr" lie biottomc~, go o:n the li'rH:s~

, 14-t-~'-li''''' ~..,... '"?"!' of _.t
I; :plJ r~t-f'-. r~;.; .... ~~- pi ~o;'" • ~= r-----+-'"

"r IJ Ii 'C-C 1,1" i ~~ r ~ Frt f"! I!* ''R' -..-i ~",o ·to
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I¥ ,"" ~c f-.-= H"';--I"" ",...., 10 -1-
'-t 1_

An, 'TrIJI, I'" A'in r 'p. I' 'rn ,'-'ft

:7'~~J _ •• "._:_ ·W!M~_. ~ ... ~ __ . __ .. _'K_~_ • ~l

, ' ,

'tb, - workingl be __ rd. If

i ' .... '-. - be -- bas '''aD

".- U _ _IWj __ I ._~ J _- 'Ar3.i l _ I:~ s_I~1

C' .

d I,tt_cy to '0' k,!e, lh.en ta: - e'

, b ~- ed'gcs ,;IIJI,-- --:;lck IOi '

YOI'D.[' w 11,'1":10.0 I. 'boo'!'"· ,- lJfO •

F.g'tl'l~f;" '.-, "., AngJ~e UI:f' :p:in pll.a~c'em BRt

ss

With tile warp I till 0'0 the: ,S}) iol, make \1 slip knot with a. 1/411 loop in th·" end 'D ~'tbtl thread~ I't is important 'tal leave tb,::,I .. , loop because 'you will weave into the llDOP later to .secure the end ofthe [WaJ11., Leave a ,3,,4,n'tait (See figure 1,~t)

Slip 'this loop onto the outermost pin on the l4C'--:~ Wr~p back and forth - ~'m'U··D-:- ·d··- the P- ·':m~:·~ C' aoin - D' from top t ·0·-· bo ttom

- I~~,. Uc· .: 1'. I . IUi,_- _: _ _;.~_ , __ ~, • ~ 01 ... ..0, U-'_,.· " l,u _',I II. I' 'J ... ', . 'II

'The 'warp SJ1DUld, 'be! fairly tight so that there is a, little tension on the' thr" .. ad, but still have seme flexibility. ( See figure ,2:0 ~ .

Whenyouhavc strung thewarp aroundall thepins . make "::-- eth - c·- r·: slip 1 rn ·0,·. ·t,- III 'rill ,d', attach '1'";1: '·0·.· th p. "1-.3_IIfl't: pin ,"In· th ,PI rig h ,t

~ U'" M' ii1'.U, , ," ~ _ o.:u._ I _ . - .. _~ 'l_~~t , . L~, ~ ~J •• ilI. _ Y., "_ III...! ,_,l·,_.{ ,

.. ._

side, again Ieaviag lao [/-_ II locp and 34'111 tail and pull the thread taut,

Clip the thread from 'the spool. (Photo lOOi)

Neekedge: 011 necklaces with curved necklines .. you, may wish to make ,S! smoot ier edge than the stair-stepped edge that wi U, result from your normal weaving. 1101 rna te this smooth edge, attach an extra

L,......... ,. I: ,I ,i • b ] ~ 'I,..,.,_... ,.,'11 .. , • II hro b·

thread to tne mnermost i op pin w-.'t~, as, _.P M-l-(]I:£ .tnen stnns It t rrougn

ii-'I9i' top iIiiI' ofth -~, W': rarp pairs and attach tt: t 0·· ""L.I~' 0·' pposite to .p.-. pin with 8'·-'

lU~IJ'.. ..' , _. :gl ." ,~. u.~, _ I . 'l!LlklJL ~ ~ < .. IU LA w, . .Il..~ 1_. ,'. Ul~' .' ," ". '. uu. _",,",' '.', ',.~. Hili . -e- I ) I '.

,. ,

- - - -

slip knot, Be SUI'e: to weave through these knots to. secure them .. (See

Figure ] 9,~)

Itt

I .~.

t·" I' I~ ~ IS ' '

H--~~~+--+--+'I'"'-I-t~.l ! IU

~-H~'-;ttFJH-IIl-+-IIhIF-lIrtFlH--t--+-~-r--1--I~'~~

I." .. I! ' I .•

!

"

I

I.

t

'p,igu.r,~ 19,,1 ._ R k.U _, _ , ~. : Ige Dip' ;~,'D~'I

',' .. bo'V' :1: SitaJ'r DlIC ') ed,gr~ .. B,.~low,:· ·',·;m,ooil-b ner,k

sdg',ei,

1 OO~ Place a, 'p' ,i:" '8'1

. [1" .

~I k-~

eae I p:ID, m,lff_.eiril .lU'S

'l,ern'S;!; I. 'lie tOlpl sh,oul ) be '~l.1ed: toward fhe 'to!,p of the wor:kJ.n.'g, boa.rd..i, pions. acr,s . the bottom, ,Should ,sJimDE 'loiwfnl '-, '-]l,e bottom. Tie

:_ .slip :kno't. ,8:1" , b' .' end of ,t .~. II \Jr., ,I'rp 'thread

'w!"-:'~ e' i't iI, 's,aB 0"0 tb,e 's~o~d~ 'Tlc' vo-u:rl wa.~1

lOr Iii" ~, ll~

tOI 't'b,tl O,'y [,c'r lIDO,S,! "m

~Bn, t:he __ "ft 'm:fll 81 ' ,:~ip knnt ,,,rr,api be wa:rp baek ,a,:rui forth. around the ~'iln!'1) goin I [frow top '0 boU,om'l Wh·n YIOII)i 'r ;0,(;11 '~h.e' I -:arrtb.:[st ,- - tn OfT, 'th -: ri:gb.'t ti~e:

- 0"0. - • wa" -- :10 I'ti \';ou

C ' .

m:l~ bay, 'J. move 1;l1a:t

til.

,1.5:( pin :5, !' g~btJy ,to

,m:. [mJ'Ia in Itb e pl'o'pe\r' teDl,w D. o'fte:I'" 'you. have 'ti,ed ,y'our ;Y'I"rp to it.

J.

l-I~ -I~

AI] beads 8,f,e strung onto the warp breads be ,0': e weaving; they are no s ewn on later, Us rally b ads are strung on from the bottom 31-t rough you rna- string them on trom the tiOPI ,: lso, To string the

beads onto the 'warp, use either the monofilament lin, or a crochet hook as follows:

1 ~ Use the monofilament line if a, crochet hook will not giPI through til, _: hole in y'O ',,,' beads. First remoi e the plio from t te bottom of tlu pair of warp threads o·n. which 'you intend to string, the b: ,S,.' 8., "Th",', b ead closest to the tor of the, neckls .. ce goes on, " irst.) Put the piece of

rm H' 'o"lfil(" 'am' '0" ine ,b' '1 "e' "'twr "e'C,IP.'D"'· ,t'~h'" " w':·,-""a" IP." I thr ' e .ad !!i2' then bring t he'" "~TO,,,,'I .'-', ds

.r L..I:_:, ',_ ''''. .. ," __ , _ '_ ,:W ., __ " "',. .;:)1, "', ,' __ ' __ ,' __ ' lW' _" ,,'

ofthe monofilament Iine togethe ','_ow pass both ends of the -, onofilament through tb.e bead, Slide f" bead from the monofilament 'IlIOn; t' 'O','D'tO" .'1 h e·· , w,' 'arp-'" threads. ,.'. d .. ld O'D' e bead ata time (' Photo 10,2,' '" W1.,',.,,' nen

[I I - " • -, /. '. _ ".. I.. , l 1 . _.,,:, . II!!! , .' • , • r , • ~u .__ I(]I. _ I • .IL.J-II...& . ill ':' J."..._ _ . II!!! .' ' •

all the beads, ar-e 0- , remove the rnonofilamen .,

2. A second way to string ,.~, e beads 0." to tlle~ .. arp is by usinga eroc ',' t h o"I"k" Aft ,', e-'r-" remo ving tl e pin -, from ' a oair ofwarn thn ad IS~' slip th ie hook

II, r.", 'Ji ". I . J' '" _l!r, __ ,', _ .' .... U-. e: I _ .[_ _:. 'Iddl...t-'" ru- _"_,'- 11 ~ I·_:_. I '. - .

through the bead, hook the crochet hook onto the pair of warp threads and slip the b, ad from the hock onto the warp, "Photo 103~)

Replace the pin aft, er all the beads are strung on that pair of warp threads. (Photo 10' .)

If 'you, ave an unusual piece such as; "R buckle Qlr a button slide it onto the warp ace down and keep ,;" " e. warp threads 01, tOPI of i. You will be -' orkiogcn the back ofyour necklac . ~ Wi ~-a~, . complef lyac "os." the bac l,~ covering the item with weaving so that it will stay in place.If the item is very t ick yo _] may want t'OI carve a depr .. ssion ir 'your board where t ie

piece MI~ 'be located so tha c ' _'-l ',' we aving will lie flat,

If you ,-18V DO,t rreviously indicated bead placement on your pattern, now put a pencil mark o "_ the pattern at the' top and bottom of each ICO· lU11D 'of" beads so that you can move the beads out 0'·' the way when, 'weaving" R. nosition your bead: as you are ready to weave them in,

,0

T re heads 'you. us", and how you arrange them, can tum, an ordinary necklace into ,B magnificent' one, It' s worth trying diffe ent arrangements before YO"'-U [~. ttle 0':'[1" the on e y:,:'O'IU

._. :_ . ..I1J ... ·, ~ _ . .'.' " ~l." "l' " -. ',...' ._.".,' .

know will be best for the necklace, I i 's I~ asy to 'try different arrai 'gements by holding your beads in, place on headpins ~ (Photo lOl~)

at the lOp loj the. piece s (} thot I . a 11 add additional el. menu

from the lower end. l' simpl .' n",II1--0Me the pin

andslide the beads 01:1 or offthe Unli"Ol-eJ1 end

"' '

of the 1 urp.

lOt. Arra ige 0 _'r' beads on 'a,

, '

iIIt "r 'ead' pm'iI ·0 il:'°e h n'HlJ!' t . ,

',,7"1 'e' "_ . ~"Ij: 11,1' ~.', ,wrt . __ :::'

'va,'rlou," co:m b iII,:a,tio,1lS 'wi 1- 10 . k, . ·a.~e; 't~m,I_, to 'try many diffe:re_-~t arrangements te flnd the o n lei most ple:a.s,ing: to. '~',U~

,Allol1ly'Ourselj'th, . .pleasure 'Of being playfu! ?V ith a ssembling ths bea is on the" arp. Moving and

rearrange fJ.g th e beads t(J1 en ate interesting

, ,

patterns is fun and C_-"I" change' the original plan. This can: ,even be

done IUS the Iveavi'118

p'TJgress s.

0:2,1 (,t'Opi 1ft) Stt~'D:giDg beads oo'tOI '(h.e w',arp ·u.sing m.o:dOm •. - ,m.eo't line': Remove .'h.e pin I.'t '_b.le· bo']o.m. 0:1 the : :s·i.I:' of', .'3.rp ,t'hrea~' S: tOn wb:icb you pllan to

s'lrin.1 'Y'o'or. b eads, Pass O'D.e end rof 9,::I1,0,rt piece of mOI:n.o:fdslms·n:t Unle betw'eeu the, ,p,air of warp

't:h reads and 'b'rin,~·' ,tb.e tw,D e'ud's,

1 •

of'th1e Itne 'tol;e'.:ber.~ Pass ' hese

'm'lo ends 0':£ 1in1e ' ,b:mU·lh (b,e

'1.." d' ,,' d"" '-6~' ,,:' b·, - b .o.-d:'" f'" --:-,- - 'ilfll,.ute,3i. , a,D.· ,!\i" ,p , ie" ~ a. ; m m t,llli e

'~'"' t" th

,dDe·' (I me 'w.a~rpiil

I,O.J,,~ (,top, ,ri,I.h.'t)Skingi.n:g 'beads on'to ,t'he w,_, f-p lI.sing a eroehet

-, oo,k.: .R.leIDIOlte ,the plio at th e· bot ... '10m 0'1 the pair !or 'w:a:rp 'tlrremds

I' " , ,L:: , b " ',(' , ]1': ", ""'-", !",:·t,;;" :', ' ',' '-,

OD. WmC. you "l]a.1I I] s n.n.g YO.f'

.,':ie'l,ds'l SlUpl the bead. 010.'_0 aero ....

, ,

b .n L k t'l,,;, I 'h f'h

'C' 'e£ _,mo,,_lJtd~n ca't: __ . __ .e 'w;arpl

. :~ ~.i'r' wi tib 't:hl,c:ro ,b,£'1 ~h,o o:k. a:n d.

, .• " - t'b~' rb - 'fr- = - to b k ,t'

51;illPI' '.: ~Iea' I"' '~o, ,'~' , ,·00·· I JO

the 'W'II'rp'i

Finl:§,'hing ,. 'he Ends Of"Th,'1 Wa,r'p Threads

Only W'I'1p pairs with 'beads, o:n the lends require finishing; other warp pai-rs can simply be woven together; If Y'OU, have beads at the end of'your 'warp" you must leave sufficient warp IO,f this, finishing,

The ends of the warp thread .. pairs may' simply be woven together without embellishment lor' you may' add beads to resemble a fringe, Beads atthe ends ofwarp threads can .. add. movement io the necklace so consider this, in your design, You need not finish. the enda before Y'~)U start weaving, You might want to change your 'bead arrangement

~ hil . -e. O' , f b , .... .JI I

taterw .'·· .. e 'yO·U .. reweaving. Once you're S'UfIC 0" 'your .·,e~p acement,

go ahead. and finish the ends,

H,CT,C arc same ways tOI keep beads 'from, corning IO'£[ 'the ends, You may think of others,

1 ~ Perforated ornaments: Small Hat beads such as, African heishi beads (about 1/16f'. in diameter), shank buttons, washers, open coins or other flat pieces with holies in them can be attached to the bottom of W8,rp threads t.01 keep, end beads from sliding off When stringing the warp", Y'IQU will need to allow extra length for the warp thread in order to attach the object, Usually this is a, little more than double 'the length from 'the tOPI of the object to its, hole, (Figure 2]~)

To attach these perforated ornaments, remove the pin at the bottom .. of a warp pair and slip the object onto the waQJI threads ~ Open. the loop at the bottom, then S ,ip the loop back lover the object, (Some people: refer tOI this as a "sales tag' knot, while 'we iB,'V ers call it a " "ark's, head" knot.) Replace the pin,

2~ Crimps: Crimps are tiny circles of soft gold or silver metal which ,can be 'flattened, 'with a. pliers '.' They are usually 'used when securing a clasp to a necklace", Slip' lone onto the end ofa pair of warp threads, _' __ en carefully SqU'CCZ1C it. w.ith apliers to flatten, This finish. is suggested for more 'formal pieces-and gives a little' sparkleto the ends, (Photo l05~)

3~ Knots of' thread; Talkie a, small piece of thread ;'[JJ i!lI c'o· '10"'r--:: th - il]j.f\-. 'w-<;'11'11 ·w·"O··Jl'I.tII" "w: ·~th'-· the desi an.fold '1···· in

J).. __ ' I~ ',' ~ ... ',_ .. " .. ~J '~~ __ !~,L ' . .'- .. I...ILIL ".~ .~_: '.. ··IL ":,'.: Ii I ~ .I~. I .I~ ~ 'lb-~~I&\, .... . .... ['. I

half slip the folded end through the end of a warp pair and pass the ends, ofthethread through the loop to form a sales tag '11.r:-,O····,t·'· Add a dro 'P'I of w': hite Ig .. .lue

.. .1 Lv I I [ .... ~l~ ·.··1·- .. _ '_1_.' ,LlJL."·' n. . " •• _:_ ',_:_l .:_, .~.".~; I.- <:.:." .,' ," \J.i l'~"." ··W

t.01 the knot, When dry; eli p off the ends, It will be secure, This method is suggested for more: casual Of folk -inspired pieces, If you arc using a bead just above these knots 'C.b.QDS,~e '8 'bead with a small h.'OI:lC, so that it 'will not slip off the finishing knot,

Flliimlll '~, !"J I' 'S' e§l II fiE!' ,j,'i'Ii, 0" 'or

-b~.,Il. ~ l~' '.1 ". :iaJI:w; llq:b I ... : ,

--la' ··IL..·~-:: 'h- .-c. ,- 'd- -1m' . · .: t··

,r,K. !II " eau. , , ;" .0

'Wear,i'n:'·, Wlth ,-- , "',:'--~edle'

Now were ready tobegin weaving, This type ofweaving is referred to as "weft-faced" weaving, meaning that the weavi ng or weft thread comple C - Y covers the w'arp.

Begin weaving at the, uppermost part of your necklace so that beads can still be added, at the lower edge or changed later, if necessary,

Thread :YO,UI needle with about ,2.'4u of the weft or weaving thread you wish to 'use forthat area, 'Lay the tail of your th read. along the edge warp thread and weave aroundit as though it were part of the first 'warp thread, It is not 'n,eCe8S31r,Y' 'to make a knot. (Photo 1'016',)

When weaving, each warp thread is treated individually, Go under he fir'S, -, warp thread, and over the' second one 0 f'eaeh pair' and S/Ol on aCIID~S the area 't,OI be filled, Now' in the opposite direc iou g~o back over and under opposite :you,r 'first line ofweaving, That is, ,go under the 'W3'1]l' :you,

W' en t 10'" ver previous y~',' and '0'" ver the 'W' ~ arp you went 'un" 'd' er

:~ l1;;,.li' ,''''I" .,., '"",",: .I!'y' ... : ..•• \: I' ,,". ' ..... " ow: ,', ~ " 'y ,,"',' .' :,_ "~"~ .'-" " __ ,~

(Figure ,22.)

Weave, somewhat loosely 'but" at he, end of'each row' use: your fork _0 pack the thread tightly' by· beating it toward, tbe pins at the top, D'OD 't pull your weaving thread 'too tightly because it will distort the outer wa~rp threads and pull them tOW8T,d the, center, You are filling in s'p"a:c'c 'with, thread and weaving , a shape in. co" ,lor to, match 'y.' our

I ' - _' ~I "

pattern, (Photo l07~)

11i1iIi"::: '8 '"' "' to

uU'~' ,I 'egJlBD'mg "..1 weaj'r~

L'ay " ']Ie tail lOr' !lIl'U,1" 'w'eo,v:'" ,DIg tbJiead :110111-:-' 'till' OU,",~ ermmr_, warp at t'h,e 'top", Then we~,' over and gOlder' :1re.rOII, 'th-;. 'warp ,and baek 0; ... 'Wbeo :yO'l], c'o.me 10 'tb:t taU OIl' 'ytlur 'wea,viog' 'tbr" ad, go arDUD:d 'I\t'lust as ii' :it we,:f"ie 0, warp 'ib,read.

Dlegon,;1 C,olor Cbanglsi

[lli'"iI ,,~, rl "" rlJ~ 'l'l!'!i~n 'W D "l!Ii U tt!I. Ill! I~I~ _ Iy 'W! 1\ I!l l!, ::JI . ~'u·, ~

IfY·,OiQ .. find that you are waving too 'tightly or too loosely, try this: after you have brought your thread across if! row of weaving, position it at it diagonal away fto'm the woven edge, Then, "beginning atthe [angle you have formed, use your fork to pack the thread firmly into place, The diagonal line of'thread, wh en it is brought into place, 'will be exactly the right length and will not distort your necklac e.

When. you come to the slip 'knot En the warp thread on. either side of'the piece pass the weaving thread through the loop of'the 'knot at least twice, Also weave the warp tail into the piece by covering it with weft threads,

W· '"Q.'B'lifliil·DQ:' A,· IS<,' - ape

. "~ . ., D 1'_ ."l •• '-- " _."

Your pattern will indicate what shapes to weax e. To weave the shapes begin at the top follow y·.··,~,U-,.I-' pattern and weave over and

._ a_.~ jI' _ L.o __ _ _ _ . 'I 11, UI . :__:,.!IUI . = _ _ _ _ _ _ _ j_ _ _ _

under as many warp threads as needed to fil . in the area,

needles and wo rlc alte.rn,atelJr on each side of the piece in order to keep track [af the; area ofeach color and make each' area the samesize and shape. This also provides ,0; better 'vlew

of the finished part

compared to the total composition.

A /'"'1''' t-h' ~ ~

S_,];"; ,U1_,~.e weaV:Ulg 1$'

created wn'ierttn,;'[er the beads are placed on the-

"U,} ~'r':"J] T'.w-,; 1#;0 creates 'Q· .: n "Ir'~. r·" 1 Ir.l;,il.~' L--,f ~ W _",!L-',I.]! tf'lIi

open lacy' effec! as in a kilt 1'}1 rug.

I'-b,a:n:-io-): l~ol,IO~-~SI 1 ._,-d!diDI;: - :'W i ,--! £I,de

~O-" ad 'd", ,-' new ",e thr read or C'OIO- I' fir i:t! -"W-· :e·j~v·e·· . th .. en d .. of ,t-"b- .. 0 .• :-.1' d.~ th .-I __ .: ead

J.J. '.' iIriI,..· ... I . I I I . " ~. '_ , <_", . ..: - J < . .:. . " - " ! .. -..:..' 'I I . l~l ~ _'.' . B· _ ",", -.',. w . . . . . _ _ _ . _ ,._

b e c .. )ki- .~ e ::!C---:IU: g'. eh (;- .,---::., !tIO:1 G.:.O· 'ur-'r' p- e revio -:1I'11~! 'iIi"iO'IW:·'·~ b --··I'Y'·. ~ passing ,- 'n- PC·' d -'~I"~!

• • ~. ~ .. ~ '. '.' ~'. 'j I ' " ,' •. ~ l~< .. ,I.t. _ . .~.I~ :'1' JIl .. ", U.~ JL I._: . . ~ . .... . ,u-al~IJIl I ' .~ .. :._ ... :._. ~ ~

. .:_. , ' • I ,,".

vertically :1 ong ,B, warp thread, Cut your old thread offwhere it comes

out ofthe woven 81 .ction, Next, thread yourneed ,e with II new thread", Just to th '. sid I~ w .. 'h- .' "'!Ii"'e' 'y'-O'U- - wish to beein weavins ,gIUi§IIl';n, .-- I th-'-'

. . _d'll.- _ Pl.r~,,_I,:__ ~I:!I ',I~' '" . I'~-I_:' I, . . . ' ... IIJd, ,1.1_, '~e'" -, ":~' ~ :v' ,!Ij~i,O' A',b~':Uil!'- plass.. I ~ ~ _

needle t, irough I hn .. , .. ' 'tOI lour' r,ow'S of weaving. Leave a ,-I·' inch ,- I,il to, be clipped off later, (Photos '108;' and ] 09~)

._ ,~. hen the weavin is completed I clip anyremaining ends, remOIV'IC the pins and try you ~ necklace IO'O,I! If the threads late pa,c:k, .. d correctly the necklace should not change shape, (Photo 1 - 0)

'11,8: .. , BllIr~' 'I'h( , -lrU. lof,' olu:r' ' .' ;a,rL --,' p3,s's,i~n'l: 11'11£ l'b'read,edJ D.~ed,le :alolil.~ ,il. \\':Ir-'. 't'b'rea,'d i.n:tro (hi'

WA .. u'li1Il ilf\Ji'Jii '.

y . ~JJIL r'!IIl l~

, Ol~ I~ " _liD. D, :- - lew It: I tealll bl_" - QSlsiin-- f~I' _ n el

! I ..

ablll' " a w'a,rp '.- - €I, tl L,--u:gli, -'I _'O .' row·s of:: . WOiY1Ul

sectien, :B,e, I,UI"~' to 'C10D:U.Du.e: ,the same -v'_,_;riu'n.der paHer:.L ,o:f \',. f"ar-,"n'l- : ill

66

'11.0"11 Til, s.B:m:p)lo neck'.ace ,\O' __ ,p~e'm~, 'with. a rou"r~5rl'r,aDd.' ,r,w,d :01, 'tb,e suppert,

Fi'nis.blng ¥ou,r Necklace: The Support And Closure

The support and the closure are the parts of the necklace which, allow it to' 'hang' around th,e neck. There are an endless! variety of ways to create supports and closures-and several possibilities are explained below, Since it is important that the support relate to the rest o'f the necklace, it is a good idea 'to reserve some beads and. threads for t tis finishing .. It is also a good idea to make the support in such a way that the length of the necklace is adjustable so that it C8'n be worn with different garments. Here are some ways '£0 make supports.

67

Fripu .. l~;., T.· b-' A , 'IOU-' .-:: ... ,

- ~i~- "'~ _.::J_ , ,~ , r

S'tra:nd' , B' ,.'ra- "lIlld. ,i A··" '1'0'" "III'r"",

~ __ IHI! .. ~ Ii! , 1.1. !liJ&11lj] •

strand b,rai' , resu.lrb;io, a round bral ' , w'b:U:- a th,ft0-strand b.,raid, is; flat,

'Lc tw·' 'I (b . ,

,00: a ,,'0 __ eD,I __ ~5, 0_:

'b ~ ...:I.:: - . 'k ,.;I' b 'Ii..,

. ,r,llllUlll,,1 't:rea,g il . :mU.lrllll,

ODe Of' 'hv'D warp thr.tad:s, D'" the to,p iof' y'our' Dieck ... , ,b"ce'. Then, wi.tb the fOlD,

,im! ..... ,iiIlIiD,.dI,~ spread iIl'Iili'li" b Ii!IL..::!I!,lIlll ·all ,U.;:JI I.:!II!, _' ·lJ; I~' . ,up _I II.I~~

fD,re you 'as, '"bo'w~1lt g,'U.'IlD"" 'b" I'I!..·· ,h· ds '11 • .o:i.

er_IlI' :Shlc!lran, .S Jl, ,1iIiii',' J~

d 4 P -IJ. - , 4J1

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and ~3' and, ba,c'k oy~:'r' #]. , " Til.. P'IO p' ,0 1i!liE' ,JJ.;' -u u- " ,o,'-r

'" 'I III"", •. iA~iJ!i iH" ' • ,~"

,IIFb· "#ll' ,', d'" ,JJ.1i ' , d b ", '11.p 1:, e t.t.. aD: "",.Jl aoc _ ,8£ "',

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ii, fir' , b iIId

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SUJ.D , m as y'u II ,~r,_1! ~

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. -, _ .. -, _ _ _ _ _ ii:t.,., _ _ _.... ii3' [II

- -

(Necklace patterns 'N'oSI! I, ,2, 3 and 1.1 are pendant-shaped.)

There are· tll,an,'y' different ways 'that' supports and u closures can 'be a dde d to your necklace, I 11a'\tC' described five of them, below.

':~ '. You may attach your necklace to a metal neck, ring Of a chain 'by 10 V erea sting the M'ID together with matching hread, First pass t:he needle between a, pair of warp threads 'then around the ring or chain, an,d, then again through the next pair of warp threads, Alternatively,

Ii::.'" "'1" 'i-f'i h t h I:!i n e t"'" kl ..... -! a,'. ('i; e o n t o " 3: m "'·Ie··· t ~ 'I rin -. g' .,': iIf"!! 10' . 'V:,: ere d" W' 1; th . ·h ib ula if" C;' O· '1''F"[i'' 0" 'r-

~ [ ,IJ~ I ~ .. ~.. I. 'IiiJ. '.. ,., . ..,' I, . ul~.. ~. ~=, ~ J _,,~ til J tlU I u..L ',.' ,l.LJ. I " .. I

, "

wrapped with related threads,

2" :S ring one or more strands of ' be' ads on your wefl threads and attach these strands to Y'OI'o,r necklace. (Because yourweft threads will probably be: thicker than your w':rp threads, you :m!ay' require beads with larger holes.] Braid, the ends for an adjustable support, To attach 'llC ' breads, pull them through the 'top of 8, warp pair 'with, a. crochet hook 'before braiding, You can make a 'three s. rand braid with six strands "b':y' treating two strands 80S; one,

3 ~ Attach two lor more strands of weft threads to you~[' necklace by ']',0::0" ping them aro un "'d'" the w .... arp th reads g' ·tl he ed ge .. of ''\1'-1O·';ur neck lace.

••• " lj"-'"-~''-''' - -~'-'--' Q~ ".- ,,'-- -,~ --' ,.' 'j J~.' riil lUi __ .. ~ . " -> ~.~ . J" -,-:. ,,' ~ JQJv _'.

pulling them through with a crochet hook, Brai d t'[1CSJ;: threads, Pin the ends of the warp threads to the board for tension, (See Figure 2,3,~)

, ~ Attach a beaded 'WO'V~,:D, support: To do SO~i string new' warp th trea d ~ 0'" f ," th i 'I~ d esire .. ·;d-, len g' j'th~·· th rr ough th j!:Iii ·0. p.'~ 0' f w· .§'rp-; 'p .... ~ 11f"~" S' ..... tria g' : '

• I l ~ _ . ..~ ',' j., ._ l'~ . ,rw,.:I ",', I ~ ~l' r. .'. j ~L:... I: _ •• u- ' .' • w l· . J ,,' ~ '.' • ~ • IU,I.I.. ~ .J _ . mil . -! .

, . . :. , , ._

bead ~ on th e £'l"p n P.'W·'," 'W:'~lrp--11P an d ..• · weave arou n d the be ads ~in" ~ p. attern

~IU· "~ _ .,' ,-, .t~~ .,~ e- '. u ,~u,.. I ~u ~ I", ,v __ '_'_,, __ , t, __ v .' .Q. ~ ~'_~"~ . a _~ ,

which is, in, keeping 'with the rest of your necklace, (While weaving

111i Wa,' II ,e,x',ens,'",'o:nS:.'wi,tb beads,

11,1., C,om,p'.'eted s,am~pl,e 'D1'i3C -:- .... laee 'with, bea,d1 ed a Rd, woven,

_ _ _. _ _ i

warp e:x.' ;en 910:0 S",

I

2 I

68

'tie the ends of the warps in raj loos knot and secure to the

board with a pin.) Finish. 'he ends by wrapping, Add a loop' to IO[f1,C end and a bead IOf' button to the other end, (photos 11- and 1] 2) see also Option ,2 'below 'in "Supporte and Closures for Pieces with Curved 'N ecklines.' ,

,5~, Weave a slit about .3l4u long on each side of your necklace, neal' the top, Pass seve --a], threads through 'the first

slit" continue on the 'back of'the necklace, then bring them 'tOI the front again through the other slit, Wrap the ends to' the threads, ,·0 S,C'C'U.I-e them. On one end make a :OIOP and. on the other end make a knot or add a, button to fit in the loop like a button, and buttonhole, (Photo _.1.3~,)

Supports and Closures for P teees with

. _ I , ' ... ' .. ,Ill .i3! .. _. '. I.. ~ _ ~aI JI! . .!IIEr ~ I _. J

Curved Necklines

I" Necklaces with curved. necklines usually have tabs that extend, upwards from the body of the necklace, (See Pattern Nos, 12" 13, and 14~) These' tabs may' be woven wi _'h a vertical slit near the top or with a loop across 'the top of the tab, Attach grosgrain ribbon braided or loose well" thread .. , chain or strands of'beads to the slit or tab,

2~ The tabs may also be r xtended by adding warp and continuing to weave, These extended tabs may be closed with snaps, hook and eye" Velcro, button and button. hole, a ribbon tie or other j ewe 11" fasteners,

'To add warp, either as an. extension of the tab or on .. ,h:e. side ,o,f a pendant, use a, crochet hook or needle to slip a strand ofwarp thread, (about 2,4, inches or desired length), through the top of ,R pair of warp threads on the existing weaving .. , Bring th.e ends of the strand together to! create a ,,- 2,-inch pair ofwarps. Add as 'm1any w,arp threads in this manner

as, desired, Pin .. 'the new warps to the: board 'where theyj Olin the old warps. Add beads. as desired to cover the transition between warps 'bIY' s .ip,ping the beads onto the 'warp pairs ~ By repeating the groupings ofbeads similar to those in the body of the piece the extensions will create, a continuous desi gn, The amount ofbeads can vary from a single 'bead to the' complete covering of warp threads, with, beads,

To add ueedleweaving to the extensions, pull the pairs of warps together into a loose, temporary, overhand 'knot. Pin this knot to the board to create tension for weaving, With a temporary knot beads can 'be a dded after weaving, then more weaving can. be added until the desired length is achieved.

At the end of the extension, form a 'LO'O'pl~, either hcrizontally orr vertically with, the remaining warps and 'wrap' them tightly, completely covering them, One option is tOI add ,8. button or bead at one side and l'OIOPI at. the other" A, second option is to make loops on. 'both. sides and weave' a short piece 'with, at button lo·n. both ends to attach to

•

Ill. Several strands (If' loose' 'w·ea'vin.g thread C;I.D be used 'to, create a s'Upportj, 'Weave: sllts Into the bod.y' o'f the necklace a'n d. fln.is,b tlUl e ads by wl~a'p'pio'g .. ,

3 .. W',_,RVI' a completely :.··ep,f •. arate ·-:U-,·I port using th ... :

'_ 1 _.

same method as weavins the -.- ecklace, .. ', ttach it with

mttons to slita "". 'en :'"1 th tabs at the 'to .~.: ofthe necklace, (photo] 4~)

4,~ . "~ra'p a double length of 1/:-" u t" ~ 11-· til dia ~ ... eter cord

(sold in fabric stores to make piping) with '~.:".I~ . ir g

thread, Pin I, (IOOIP of'cord to a board of the de sired

~II~I _ t, • I't' 'lIi1_.' .,,.... ' .. ' ·Ie .. ·. a" ',I •. bacl I - ,

~w d~_ ··.u·.u ,g '_'

forth jus' 'ike weaving around tW'OI warn th '~'a:., ,'iOiV'I-:: and under land bac "~

ove .. r and under), covering the cord "' .. ·i_··h thread, .. ,'. ott,D'C;h buttons I(J l,th,.. eo. ~ '.:~ (P',- ~ n ,0,.:

'1115'-:-' .- d 11] 6' )

1, ;: an.- .1 _ 1._ ~.

. h,· .. , ·08~1 --_I~ IN.

qUlerl I asked by peopl I 'W' ·a· p:p"iL'l"n'g-:-' II... Pl~-' ,.'.'. 'S ; .. ,

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,r '11 (J' «long does ,i,t take

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n1ece:ssa'ry~ ~~ to i I.' 've' r Ion; , 'time - but ,h .. ' rasult is worti: waitin:g'

for. .,. It· .... . l,/'~" :.ie all track

oftime while creating it. .1

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:~ "n: WOVlell 'sepa:r..a,!·ely ;a,g,ld com'bined. 'i.Dln ,o:-e piec,e; sd~ched, 'toletb:e,r' :Dcro,ss ttl e ,to' , l!l

71

1'19,,, :1'0 'this p:',ece, S'US;3rD used ,I double set of 'urfilli 'PH Ii::' 0' '1'II.n s et serv 'nd: '8' S ,':14. iD 'Hif.O' ven b'~~' sm 11 n 'd'

TTIM1a.r-i.'!lhil ·.··._·Il,I,~' '~.- ~'!Lf ··/I~'. '.1': ,.IJJI~ ""'_' .:'t~ I ;'A,~ "~I ,"

d -b dse .. €I tb - -b ad A'b' d"

I." --_. ., - ... '. '. .... '. I I '. - _ .... . L _," • I .' '~." t' -_ . ,-' . I . ," " . ., . I

an .t e S,ttenR '_, ,set ca,r,n,e,-_ '~ __ o_,e _lea, _ 5 .. " __ '_' Bv,e alt_

'be:loiW' the beads both sets ofwarp,s, we:re 'Ireated HiS one and wnv,eD 'Iog~,tb,er~

72,

i .,ea,ds, In'. Thre _Ids

-~-------~------~~-------------- - ----_._--- -_._--

Cha.'p er Four ~ Patterns 7 ,.

~~------~~~----------~------------~------------------------------

O~~h~:p .• Ul~~~:::g~::~r~o~ 7~!1::~np.· •. ~~!:~:::='a~~~=~,~::

. • ',' .~. ~ ,:~ l'"' ", '_' ':: .. _,-' -.1' .. '~," .... ~ .. :',j .. '" ';to', ~. l . .:_.- ", __ ,',_0' -._ .. 1 __ ", _ ....:. .:.:.,_._ . _'.

Some designs incorporate motifs from, other periods or cultures, and 'beads,

or artifacts related to these' would enhance the design Some' designs can be used with ethnic or elegant beads, Depending upon 'Y'C'u[ own personal sty' ,c and, the beads you have available, you may 'want to 'modify a. pattern

. f"

or create one or your O''Yi11 ..

You 118'\1'(2 permission 't.IDI make' copies of the following 19 patterns for your P e roo' nal 'U' IC1I'e o .. m Iy and not &'0'· "'r resale M'·,:, 0'- s 't'· o"f'~' ,':'1!... i=Ii pattern C'I ar 1IIJi, C1I'h" OW" n

': .. - ' ... i), .~ ~ .. ~' .. :" _~ £Ii. i.1 .. : .. 1 lL , .... !d~.I!i...',. , _,',' II. - UJI_11!&,ot i' u".' '~,';; ". :.~ i;1i . I, ' •. ' .

fu 11~' ~-:--.~ th-·· .. th '-'.' '.--' · ,-,- -be "', dr .. - .. - I 1/·4·' n -" Old' ort k .,' to .'. '. ,- 'I 11

u size; _ ,e o .ers may~,e ,rc':c'_·a.wn on a, :-1 gn.~ o,r ILea,. en _,0 your .. OCBll

copy shop .library, lor other Slh'OIP which has an enlarging copying machine to ell .arge the designs t.IO the size indicated".

'11 2" I)" ,i: ~t d' b - . ,- - - '8' " - - - .. b ~'~'e4il:Ja~'; ea ,Y aura narnaoy

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78",'

.,.'

Cll0ptc-r- FioUJ _, Patte i ,5.

IZ5,,," P endant necklace.Arrange ] •. ht, medhrm and d rk colors *1_ . 'mp I'asiz:e' the various shapes, T,he support :i:s woven 'with ti.e ends to allo'w :a.dj'u§,ta.'bIJe .I.engtbl .•... ecklaee by Helen 8Iao:""1

79

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1. 26!!, A simple but: el.egs'Dt' d es ii.g;n. 'wove'D iLD a sin:gl;e co_or~, The beads ·wll.1 d.efme the style, The :s:a:mp'IIs" "T-ux ... ed.o,"ftI' ii, 'wove. witb b'lac_, t:b.res,d to set off the' luxuriou.s crystal beads, A'fter __ - e wleavio= was com'p' ete, ,I, 'b,it· 0:.: sO.'ver ,cb'ai:n, 'M{a,S a!dded belo'w the center beads; a :e:f' the weaving: te gi:v'e s'parkl,e and move111en't~I.A.sllver

'h- iii Iii ,... . ..;I.,£': t· L . 'N Id 'b D- ~ F"';II; , d

C,--_.81.0 IS: 'UIeO mr .• - lie! :sD,pport!! _,-"'.-. ee' aee -I:Y' " .• a e.·'"'t~gera.~·_,~

82

Cb -, P

I·' -'. - - '. - .'. f '- "', . ,-,

. apter ou;,r ~ ,a tte rns

127. Sri 'i,n 'the' "'eas:y' e.ategory,," 'Ibis! necklace j ... I i'mfla'r' to, the penda tt necklaces

ut has tabs a,' tbe top 'to ·whl.cb'llI,p'pom", such as brald.1 ~.,C and- ofbeads, or 'wrapp1ed strands, wUI be :- -dded., Closures a ,e IJ'tt ·cb.e,d '--0. tb:e e'nd:s o'f these 5UP'P:O:rt:Si The wo~eD·· _' _ _.. orts on the ·.;,··mple were ad. d led. a._:le·r co:mp e r. ing the bottem .or'lin 11' ~:_. ·.~kI·· ,a-, iii'! -:- b~.y·' : 'AliDn >- De~'S;~

, -e _ ~ _ _ _ llir I' - '~I ~ • I -

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£'0'.. .I'II,D" ,.n1ea,u;-'mspl.r:e n,eC'1i1u~e W~:',. a, I,; a .. lIn" eurve ~r nee ' ne an_-_, a :Sllmp' e ,~_,ral ,e' ,C'IIJOSU,f'e'Ii' "" Ote u:I"I,

beads at the tO,P', whleb 'begi'D '~-O '£or:m the e O!),tI:ll"e~ 3:re' added from the tap o,f the wG.rp' palr, rather 't'ban 'from, 'the' 'bott'olm~ Bead,s used. a.re' jg:btw'ei,gb:t' b:a:rnboo 'tub,el, a'-D,d otber' wood,e" b·~,ad.s:,,, Nee:kla.~·e by Dianif F'i'tz;gle:m-d~,

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92

. or qll.il't-lo'V'Q·n·, tbil' nine-pa ch i:nterpr~tl"tioDI is <imp e tf' dO,=-lo'ts, of 'well. :ng but (ew' b,ead,s~ Ne,ek~l:a.ee by Helen Banes,

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