Learn To Bead and Make Jewelry
LEARN TO BEAD . NET
The Design Approach To Learning
BEAD WEAVING
Etruscan Square Stitch
Bracelet
Instructor: Warren Feld
Wear your inner Etruscan metalsmith!
Design a Square-Stitched frame of faceted
metal beads surrounding a rich vein of
gemstone squares.
Palette 1: Brass
BEAD WEAVING
ETRUSCAN SQUARE STITCH BRACELET
BW2-SQ-01-Square Stitch, Negative Spaces, Frames and
Boundaries
This set of instructions is organized as a series of
Jewelry Design Choices:
I. Planning Your Project
BOUNDARIES, FRAMES, NEGATIVE SPACES
IA. Conceptualizing Your Piece
IB. Measurements
IC. Selecting Materials
ID. Sketching a Pattern or Graph
IE. Identifying Potential Areas of Weakness within Your Piece
IF. Visualizing Your Process
IG. Organizing Your Work Space
II. Begining Your Project
IIA. Basic Steps
1. Make Frame
2. Make Decreased Ends
3. Add Inside Window Beads
4. Add Clasp Assembly
IIB. Dealing with Contingencies
IIC. Finishing Touches
III. Summary of Learning Objectives You Have Met
After Accomplishing This Project
IV. Next Steps
IVA. Suggested Readings
LearnToBead.net
Goals:
- Planning a bracelet design
with a negative space
- Translating bracelet
measurement goals into the
construction plan
- Understanding construction
and structural issues, such as
areas of weakness, using the
Square Stitch with this design
- Discussion of Design
Concepts: boundaries, frames,
negatives spaces, shapes and
textures
- Adding a clasp assembly
These Instructions are written from
what is called The Design
Perspective.
They first guide you through the
kinds of choices to be made, when
designing this particular piece.
This gives you a sense of how the
artist thought through the
development of the project. This
provides you with a better
understanding and some insights
about what kinds of things you
would need to consider, when
designing a similar piece, or
Prerequisites:
- Orientation To Beads &
Jewelry Findings
- Knowledge of square stitch
TimeFrame:
This bracelet takes about 4-5
hours to complete
adding personal touches to this
project.
Then step-by-step, easy-to-follow
instructions for completing this
project are presented.
Finally, the skills learned by doing
this project are summarized.
In this bracelet project, we play
with design issues associated with
negative (open)spaces,
boundaries, frames, shapes and
textures. We plan our designlayout using faceted brass beads
and the square stitch.
Supplies To Make a 7" Bracelet:
Generic Item Description
This Project
#1. Brass
Square Stitch Frame:
3 mm faceted metal cube beads
(326 beads)
Filling The Negative Space:
8mm Puff Square gemstone
beads (18 beads)
Size 8/0 seed beads (36 beads
or 1 gram)
Other Materials:
Lobster Claw Clasp, brass
oxidized, 12.5-13mm (1 clasp)
6-7mm Jump Rings, apprx 20-
3mm faceted brass
cube beads
(in kit, 400 beads)
An olive-colored
gemstone 8mm puff
square bead, such as
Ryolite or African
Green Jasper
(in kit, 22 beads)
Miyuki 8/0 seed bead,
8/0-460, metallic plum
(in kit, 2 grams)
12.5mm Lobster Claw,
brass oxidized
(in kit, 1 clasp)
7mm, 21-gauge, Jump
Your Project
Variation
or 22-gauge, brass oxidized (2
rings)
Size #10 English Beading
Needle
Bees Wax or Microcrystalline
Wax
FireLine cable thread, Size D,
.008", smoke grey
Rings, brass oxidized
(in kit, 4 rings)
#10 English Beading
Needles
(in kit, 3 needles)
(not included in kit)
FireLine cable thread,
Size D, .008", smoke
grey, 50 yard spool
(in kit, 1 50yd spool)
(not included in kit):
Chain Nose Pliers
Scissors, Ruler, Work surface
Bic lighter or thread zapper
Graph paper (8-10 squares to inch for 3mm cubes and 6 squares to inch for
4mm cubes)
ETRUSCAN SQUARE STITCH BRACELET
I. PLANNING YOUR PROJECT
Thinking about the types of choices made for this project
This is a fun bracelet project, using the square stitch. This general design –
square stitch with an open window – has appeared in many variations over the
years, most recently (2008) with a free downloadable project from Beadwork
magazine, and developed by Shelley Nybakke. This Etruscan Square Stitch
Bracelet is influenced by Shelley’s version of the piece, particularly in the choice
of the 3mm faceted brass cube beads.
The Square Stitch is a very basic stitch. The beads line up along a grid of
parallel rows and perpendicular columns, where each square represents one
bead. The Square Stitch can utilize patterns developed for Cross Stitch, Loom,
or Knitting patterns.
Boundaries, Frames, Negative Spaces
From a Design sense, any bracelet poses an interesting dilemma for the artist -it imposes a boundary line on the wearer, one separating the hand from the arm,
and by extension, from the rest of the body. That boundary line could be very
beautiful, or somewhat dull, or slightly awkward, both for the wearer, as well as
any viewer.
Think about different kinds of lines that could be drawn here, and your possible
reaction to them. For example, think about the "watch line" which is left when a
tanned person removes their watch. Think about a friendship or prayer bracelet -basically a string around the wrist. Think about an elaborately embellished cuff
bracelet.
People love to wear bracelets, so it is important to understand Why. It is
important to know how and why drawing this "boundary" on the wrist leads to
more (or less) satisfying bracelets. The design artist decides which variables
should be incorporated into this boundary-defining piece of jewelry.
How should these kinds of variables matter?
a) linearity
b) directionality
c) width
d) amount of plainness vs. embellishment
e) dimensionality
f) materials
g) positioning relative to wrist -- loose or tight fit, for example
"Framing" is a technique to assist the artist in managing the boundary line drawn
by the bracelet. Framing helps the viewer decide about beginnings and ends, or
tops and bottoms. It aids the viewer in transitioning from the hand, through the
bracelet, and onto the arm and the rest of the body. It can make more (or less)
stark such transitioning. Framing directs attention. It can enhance the emotional
interaction with a piece.
Framing might be a special edging to go all around the piece, or on two sides. It
could be some kind of visual play of beads on either end. It could be small seed
beads placed on the top and on the bottom of a larger, more visually-centered
bead. Framing may be a repetition of lines or arcs emulating outwards from the
center of the bracelet.
Lines and borders can be "positive" or "negative". Positive means that the space
is filled in, and in our project, this would mean filled in with beads. Negative
means that the space is open, and unmanipulated.
Our Etruscan Square Stitch bracelet is a perfect example illustrating the kinds of
design decisions artists need to make, when working with boudaries, frames and
negative spaces. These decisions include measurements about bracelet widths,
widths and lengths of positive and negative spaces, and the degree of
elaboration of a negative space that feels not too much, and not too little.
IA. Conceptualizing Your Piece
Ask yourself these questions:
Purpose?
Is this to be for a Woman (6 ½ - 7 ½”) or man (7 ½ - 8 ½”)?
What is the Context/Setting the bracelet might be worn in?
Sizing?
Size of wrist? How loosely should it fit -- very loose, somewhat loose, tight??
Given who is wearing the piece, what width should the bracelet be? 1/2", 3/4", 1",
more?
Materials?
What types and materials of beads do I want to use? glass, gemstone, metal,
mix?
What size(s) or shape(s) of beads do I want to use?
What kinds of stringing materials do I want to use, and do I want to wax the cord?
Design and Color Issues?
Do I want to use an odd number or an even number of beads across this width?
or up and down the length?
Do I want to use the same bead throughout, or do I want to create a pattern?
Should I emphasize a surface texture? If so, to what degree? Same texture
within frame as within negative space?
How much surface embellishment do I want to do? how elaborate do I want to
get?
What colors do I want to use? Metal colors? Glass bead colors?
What will the clasp assembly look like, and where and how will I attach the
clasp?
Will my clasp assembly compete, or not compete, with the way I have decorated
the negative space?
What size of window (negative space) do I want? (Size also needs to
accommodate the sizes ofthe beads you want to use to span this window.)
What kind of pattern would I like to create within the window (negative space)?
Should I embue the patterning within my negative space with more resonance
than the square stitched frame? If so, how?
Wearability?
How easily will the woven beads, once the project is finished, conform to and feel
comfortable on the wrist?
In this example, I created a 7” bracelet for a woman to wear. The
beadwork was 7” and the clasp assembly did not add additional
length. The bracelet was 8 – 3mm size beads wide (about 7/8”), and 69
– 3mm size beads long.
There is considerable artistry and craftsmanship underlying Etruscan
jewelry. They brought to their designs clever techniques of texturing,
ornamentation, color, relief, filigree, granulation and geometric, floral and
figurative patterning. While their techniques were borrowed from the
Greeks and other Mediterranean cultures, the Etruscans perfected these
to a level of sophistication not seen before, and not often even today. I
chose the faceted metal cube beads to bring this Etruscan sensibility to
the piece.
My frame-borders around the window were each two – 3mm beads
wide. My window (negative space) was the equivalent of four – 3mm
beads wide.
I wanted to have my frame constructed of one type of faceted bead, and to
create a simple pattern of larger, but smooth square beads along the
window space. I always like to bracket or frame my focal beads, so I put
an 8/0 seed bead on either side of my focal square beads.
I did not want my clasp assembly to visually compete with my negative
space, so I made this as unobtrusive as possible.
I imagined that my bracelet could be worn casually, as well as a “little
dressed up,” which is why I chose to use the metal and gemstone beads
on the piece. The bracelet is meant to be worn "slightly loose" -- a little
more give than "tight"; however, you could easily add length to wear the
bracelet more loosely on the wrist.
I chose FireLine thread. The square stitch is a very loose stitch, and the
FireLine keeps the thread tension more easily than Nymo or C-Lon
thread. I waxed my thread, using bees wax, which also results in
increased thread tension.
I decided to begin my clasp assembly on top of each edge of the piece,
rather than an extension from each edge. Thus, when the bracelet is
closed, the two ends pull together. Little or no skin shows. The "boundary
line" defined by the bracelet appears as continuous as possible.
IB. Measurements
Ask yourself these questions:
What length and width bracelet do I want to end up with?
What are the widths and lengths of each of the beads I want to use?
How many beads long?
How many beads wide? (must be an even number)
Size of window (negative space) within bracelet?
How much more length will clasp attachment create? (in our instructions, no additional
length)
Will there be any variation in the actual sizes of the beads, from bead to bead?
The frame and window.
8 beads across
Window frame-borders are 2 beads wide
Window (negative space) is 4 beads wide
MEASUREMENTS
Criteria
Bracelet length
w/clasp
Square-Stitched
Area
Row width
(must be even
number)
Clasp adds this
length
Size and shape of
beads in square
stitch base
Cube Bead Rows
Per Inch
This Project
7”
7", 69 cube beads
long
eight 3mm cube
beads
0"
3mm faceted
cubes
Approximately 9 10 cube bead rows
per inch, so to add
1/2" in length, you
would add 4-5
more rows to the
basic design
instructions
Your
Variation
Project
NOTE: There are 25mm in an inch. Rulers are marked in inches on one side and
millimeters on the other.
IC. Selecting Materials
Ask yourself these questions:
Types of beads? Glass, metal, other?
Sizes of beads?
Directions holes are drilled in beads?
Required fit of beads with the negative space?
Stringing material? beading thread, cable thread?
Clasp? Make my own or use a manufactured clasp?
I could have gone with either 3mm or 4mm sized faceted brass
cube beads. As a rule, the smaller the bead, the less gaps of light
subtly appear between each bead, and the more elegant and
resonant the piece. I wanted my piece to show some class, so I
went with the smaller 3mm bead.
I chose 8mm puff squares, and allowed slight less than 8mm
spacing between beads. I wanted the sides of the beads to overlap
and run into each other. This adds movement, dimensionality,
multiple interplays of light and shadow, that I would not have
obtained if my everything lay perfectly flat.
FireLine gives me the most control over the tension of my beads.
The Square Stitch can be very loose and difficult to manage with
regular beading thread. It is more abrasion-resistant – the metal
beads tend to have sharp edges around the holes.
The manufactured, machined clasp felt like a better fit with my
faceted metal beads than a hand-crafted clasp would.
The supplies used in this 7" piece include:
- 326 3mm faceted brass cube beads
- 18 – 8mm puff squares and 36 8/0 seed beads. Each square was
bracketed on each side by an 8/0 seed bead (color 460 – metallic
plum) for a total of 36 8/0 seed beads.
- FireLine, size D (.008) cable-thread in smoke grey color.
- One antique brass oxidized 13mm lobster claw
- Two 6mm brass oxidized jump rings
- 3-4 English beading needles, size #10
- Bees wax
Waxing, in this case, makes the bracelet stiffer. The square stitch
tends to be a loose stitch so waxing is useful.
- Work surface, scissors, thread zapper, pen, paper.)
- Graph paper (8-10 squares to inch for 3mm cubes and 6 squares
to inch for 4mm cubes)
ID. Sketching a Pattern or Graph
Prepare a Graph or general sketch.
Mark down what you are calling rows, columns, and cell (individual bead)
numbers. Do this so it makes sense for you, given the requirements of the
particular type of bead-weaving stitch you are using. There are no pre-set rules
here.
The Beginning of A Graph for The Etruscan Square Stitch Bracelet
IE. Identifying Potential Areas of Weakness within Your Piece
Inside corners
Each end of the bracelet
Narrow edges along window
The rows of decorative beads you string within the window
Identify where you want to place the clasp.
IF. Visualizing Your Process
Holding the piece. I work the piece over my fore-finger. Thus, my finger
becomes like a little easel. I use my thumb to hold the developing beadwork in
place. I am right-handed, so use my left hand and fore-finger as my easel, and
work the needle and thread with my right hand.
Points of weakness. These are areas of your piece that will need
reinforcement. (See the graph-image above which identifies points of weakness
in this project. The two narrow frame-borders are points of weakness, as
well. These get reinforced as part of the process of filling in the negative space
with beads. Without reinforcement, the frame-borders would start to pull apart
and stretch out.)
In which direction do you want to work – away from you/towards you; towards
you/away from you; side to side, clockwise, counterclockwise?
For this piece, I like to work in a counterclockwise direction, and work the beads
going from close to my body towards away from my body. When I get to the end
of the row, I flip the piece, so that I can continue to work counterclockwise, and
away from my body. (People who are left-handed often prefer to work clockwise.)
Where the thread goes in and where it comes out.
The square stitch involves making circles through the holes of two beads. I like
to start each “circle” with the needle coming out the hole of the first bead, so the
needle is pointing away from me.
Do you want to work from one end to the other, or complete the piece in
stages, or create a series and components, and then attach them together?
In this example, you create the basic rectangular frame, and then, at the end, go
back and create 2 decreasing rows on each end. Next you fill in the negative
space, starting in the middle and working to one end, then coming back,
reinforcing this work back to the middle. You continue from this mid-point, filling
in the negative space to the other end, and then come back to the middle to
reinforce this work. Last, you add the clasp assembly.
Create a few sample rows. This gives you a chance to pre-test your ideas and
strategies, before barging in to the full task.
Set your mantra going.
Organize the “flow” of your work in your mind. Create a pattern and rhythm in
your head, utilizing such things as shapes, sizes, and colors, and noting where
thread goes in and where thread comes out, and whether you are working clockwise, counter-clock-wise or in a figure 8 motion.
In this example, my mantra went something like this:
“Pick Up A Bead
Complete a Circle
Give A Tug
Pick Up A Bead
End of Row?
Then, reinforce back row
And, reinforce forward row
Flip the beadwork
Start Again… “
IG. Organizing Your Work Space
Get your beads, stringing materials, tools, ruler, wax, work surface, handy pen
and paper, and the
like, altogether in one place.
II. BEGINNING YOUR PROJECT
IIA. Basic Steps
The instructions below are for making a 7” long x 7/8” wide woman’s bracelet,
using 3mm cube beads. For a man, you would probably both increase the
length as well as the width. You might want to use a 4mm rather than a 3mm
cube. The basic steps would be the same.
BASIC STEPS:
1. Make Frame
2. Make decreased ends
3. Add inside-window beads
4. Add clasp assembly
1. Making the Frame
1.
2.
3.
4.
Cut an arm-to-arm’s length of thread (about 6’)
Put the needle on the thread, and leave an 8-10” tail
Wax the thread
Tie on a stop bead at the other end of the thread (opposite end to where
the needle is), leaving an 8-10’ tail
How To Add A Stop Bead
Add a bead – a bead that is large enough so that it will not
slip into the holes of your regular project beads --, in an
obviously-different-color, and pull down towards the end of
your thread that does not have the needle on it. In this
project, you can use one of your 8/0 seed beads here. Leave
about a 10” tail. Using your needle, go in and out of the
bead (thus, make a circle) 3 or 4 times. This should keep
the bead fixed in place, but allow you to move it up and
down, if you need to adjust your thread tension, particularly
for the first row of beads you put on.
When you have completed your project, you slide the stop
bead off. You then thread the tail onto a needle, and weave
it back through the finished piece, in a zig-zag style,
snagging a thread-loop and tying a knot, either once or twice
on your pathway. Zig-zag into a few more beads after your
last knot, before trimming off your tail.
5. Put 8 cube beads on the needle,
and push these down to the stop bead
6. Pick up 1 cube bead (to begin Row 2, and this will become #9 bead).
Push to end of thread. Your needle is now coming out of bead #9.
7. Take your needle and go up through bead #8,
then down through the new bead #9.
You’ve thus made a circle, and your thread is coming out bead # 9 again,
ready to put on bead #10.
Keep going.
8. Pick up bead #10, and go up through bead #7,
back around to bead #10,
and down through #10.
Your needle is now coming out of bead #10.
9. Repeat this circling stitching motion with beads #11/6, #12/5, #13/4,
#14/3, #15/2, and #16/1.
Your needle is now coming out of bead #16.
10. Reinforce Row 1 and Row 2.
Take your needle, and take it through the entire first row (beads #1 thru
8), and back through the entire second row (beads #9 thru 16).
If you began with a Stop Bead, ignore this bead, when reinforcing your
first row.
Keep your tension tight. Give a good pull on the thread. Snag a
thread-loop at
bead #16, and tie a knot.
NOTE: At this point, I like to flip my bead work over, so that I am always
working in
the same direction. For this project, I like to work from my body
outward, thus
away from my body.
How to SNAG A THREAD-LOOP
You will find thread-loops along each side of the piece, as well as
between each bead. You want to work your needle under the
thread. You DO NOT want your needle to pierce the thread,
because this will cause the thread to fray.
At this point, you can do one of two things.
Anchoring: One thing you can do, after you snag the thread-loop,
is tie an overhand knot around the thread, in order to anchor your
main thread to the piece.
Reversing Direction: Another thing you can do, after you snag the
thread-loop, is double back with your needle and thread, to reverse
direction on the same row.
11. Continue making three more complete (8 beads) rows, going back to
Step #6 through Step #10.
So, you pick up bead #17,
Take your needle and go up through bead #16, then down through
the new bead #17.
Pick up bead #18, then thru #15, and so forth to
create row 3.
Reinforce Row 2 and Row 3, as in Step #10.
Then begin row 4.
Then add row 5, and reinforce back through row 4
and through row 5.
12. We will now make the frame, leaving a 4-bead wide negative
space. The
frame consists of a left and a right border, each made up of 55 rows,
with 2
beads in each row.
NOTE: If you want your bracelet to be longer or shorter than 7" with a
slightly loose fit, or if you want your
bracelet to fit more loosely, you would add or subject to the 55 frame rows.
For example, adding
4-5 more frame rows will add about 1/2" to your piece.
13. Your needle should be coming out of Bead #40 (Row 5).
Add a bead (#41), make your circle back through Bead #40, around
and back
through bead #41. Your needle is now coming out of bead #41.
Add a bead (#42), make a circle with bead #39. Your needle is now
coming
out of bead #42.
Reinforce by circling through bead #39 and #40, the up through bead
#41 and
#42.
Because this corner is a point of weakness, make one more
reinforcing circle
(#42 to #39 to #40 to #41 back out through #42).
Pick up bead #47, make your circle.
Pick up bead #48, make your circle.
Reinforce the previous and current row.
And continue the pattern until you have made 55 rows.
14. At this point, you have 55 frame rows on one side of your piece.
You want to double check your measurement goals for the length of
your piece, before continuing.
KEEP THIS IN MIND: We will be adding two decreased
edges on either side, which will add about 1/2" total to our
length.
To shorten the bracelet, weave your thread backwards to take off
some beads.
To increase the length, you can do one of two things.
A. Increase the number of 2-bead rows in your frame border.
B. Or, add 8-bead rows to the beginning of your
piece. REMEMBER, if this
is your strategy, you’ll be adding an equal “length” to the ending
rows of
your piece, as well.
15. Your thread is coming out the last frame row. After you are satisfied
with what the length will be, check your thread
tension. Give a tug on your thread. Snag a thread-loop and tie a
knot.
With this thread, circle down several rows, snag another thread-loop,
tie
another knot, circle down a few rows, and cut off the thread as close
to the
bead-hole as you can.
16. You are ready to make the other side of the frame border.
this end,
we have to start with a new thread.
Towards
Cut an arm-to-arm’s length of thread (about 6’)
Put the needle on the thread, and leave an 8-10” tail
Wax the thread
To add this thread, I like to start back a few rows from where I want
to start bead weaving again.
I snag a thread-loop, pull my thread all the way out, but leaving
about an 8-10” tail, and then tying a knot. I zig-zig my way up to
where I want to start the bead-weaving again.
So, in this project, I would snag the thread-loop between beads #12
and 13, tie a knot there, but leaving an 8-10” tail. I would zig-zag
with my needle and thread from #12 through #13, then follow the
diagonal, up through bead #33. Now my needle is coming
through bead #33. Check your thread tension. Give a tug on the
thread.
Add bead #44, make a circle through #33, add bead #43, make a
circle through bead #34.
Reinforce #33 and #34 in Row 5, and #44 and #43 in row 6.
Continue making 2-bead rows, until you have completed 55 rows.
Double check that you have the same number of rows in both frame-borders.
If you still have your stop bead tied to your frame, this would be a good time to
slide it off, and rework your tail zig-zagging through your piece. Along your
pathway, catch two different thread-loops and tie knots. Continue through a few
more beads after your last knot, before trimming the tail.
17. Now we’re going to join the two frame borders and add the final 5
complete (8 beads) rows.
Your thread should be coming out the bead on the outside of the
frame border. (If not, work your way to that point.)
Add one bead, and circle around this and the previous bead, and
back through this new bead.
Circle around again, to add reinforcement at this corner.
Add a bead, make a circle, come out this new bead.
Circle around again, to add reinforcement at this corner.
Further, reinforce these beads by weaving through the lower row,
and then weaving through the beginnings of the upper row. You
might do this a couple of times.
Add 5 beads. Make a circle with the fifth bead and the inner-most
bead of the opposite frame border, and bring the thread out this
new bead. Circle around again, to add reinforcement to this
corner.
Add a last bead to complete the row, make a circle, and come out
this new bead. Circle around again, to add reinforcement at this
corner.
Reinforce these beads by weaving through the lower row, then the
top two beads in the top row, back through the lower row, and up
again to the top row. Go back through the 2 outer beads on the top
row. Snag a thread-loop, and go back through all 8 beads in the
top row, to come out on the other end.
Check your thread tension. Pull tight. You might also snag a
thread-loop and tie a knot.
Make 4 more square stitched rows of 8 beads across. Check your
thread tension. Pull tight. Snag a thread-loop and tie a knot.
Position your needle and thread so that you are bringing your
thread out between 1st and 2nd to the last bead in the row at the
far left or right side of the top-most row.
from here.
We’ll begin the next step
2. Making the Decreased Ends
Double check the length one more time. Remember that addition of the clasp
assembly will also add some length. If you need to increase the length, you can
add more 8-bead rows to either end. If you need to decrease the length, you can
make 1 decreased row instead of 2, or leave off this step entirely.
Again, your needle/thread should be coming up between the 1 st and the 2nd to
the last bead in the row.
For this next row, we will be adding 6 more beads.
So, pick up a bead, and then continue to square stitch 6 beads across.
Reinforce the 6 central beads in the previous row and the 6 new beads in the
current row.
Maneuver your needle and thread so you are exiting between the 1 st and the 2nd
to the last bead in this 6-bead row.
For this next row, we will be adding 4 more beads.
So square stitch 4 beads across.
Reinforce the 4 central beads in the previous row and the 4 new beads in the
current row. Make a reinforcing circle one more time, because the ends of the
bracelet is a point of weakness.
Snag a thread loop, tie a knot, zig-zag a bit back through the piece. Snag
another thread loop, tie a knot, zig-zag a bit more, and then cut off the thread.
Tie on another thread near the other end.
the same procedures as above.
Make the two decreased rows follow
3. Adding the Inside-Window Beads
The inside-window beads consists of an 8mm puff square, bracketed or framed
by 8/0 seed beads on either end. This "framing" sets off our gemstone puff
squares, making them center-stage.
Some Pre-Planning
You need to do some planning and measuring here, before adding your insidewindow beads.
First, find the middle of the window (negative space). In our project example,
this would be between the 27th and 28th rows (out of 55 frame rows). We’ll use
the 28th frame row as the center.
Measure the width of your widest or fattest bead. In our project example, this
would be 8mm for the 8mm puff square. Our 3mm cube beads are slightly
shorter on one side than the other. Given the direction of our cube beads, 8mm
will be a close fit within any 3-cube length. We want our puff squares to fit snugly,
and their edges slightly to knock against each other.
Determine what kind of spacing, if any, you want between each bead across this
window (negative space). I think the piece looks better when the inside beads
are close to each other, even touching or slightly overlapping.
NOTE: When someone wears this piece, it stretches out a bit, so the actual
spacing, when worn, will be slightly larger than it is as you are creating and
playing with it.
NOTE: Deal with any imperfect fit issues at each end of the window, near the
clasp or ring. You might need to increase some spacing, or decrease some
spacing, to get all your beads on. Do this at either end. You want the middle,
thus focal point, of the bracelet to be very evenly spaced.
So, to begin the process.
Start with an arm’s to arm’s length of thread (about 6’). Wax your thread. Tie
it on a few rows below where you want the thread to come out, and zig zag to
Row #27, so you are coming out the outside of the row, and ready to go up and
into Row #28 headed to the inside of the window.
Add one 8/0 seed bead, one 8mm puff square, another 8/0 seed bead, and bring
the thread from inside the window to outside the window or Row #28 on the
opposite side from where you started.
Come out of the outermost bead on Row #28. Make a reinforcing circle, coming
back through Row #29 towards window, then back to the outside through Row
#28.
Bring the thread back down towards the inside through Row #29. Bring the
thread back up towards the outside through Row #30. Then circle back down
Row #31 towards the window.
Add an 8/0, a puff square, and another 8/0 bead, and bring the thread, from
inside to outside of window, through Row #31 on opposite side.
Circle around to Row #32 inward, then Row #31 outward, then Row #32 inward,
and then Row #33 outward, then Row #34 inward.
Add an 8/0, a puff square, and another 8/0 bead, and so forth.
Continue to add inside beads at rows 37, 40, 43, 46, 49, 52 and 55.
When you finish adding beads between the two Rows 55, you need to maneuver
your needle/thread, so that you can retrace your steps backward. This will
reinforce all the window beads you’ve added so far.
And, to position yourself to complete the other half of the window, you’ll exit
outward at Row 28, then inward at Row 27, then outward at Row 26, and inward
at Row 25. You’ll add an 8/0, puff square, and another 8/0, and go outward
through Row 25 on the other side of the window.
Work your way down this half of the window, adding window beads at Rows 21,
18, 15, 12, 9, 6 and 3.
When you finish adding beads between the two Rows 3, you need to maneuver
your needle/thread, so that you can retrace your steps backward towards the
center again. This will reinforce the rest of the window beads you’ve added.
Snag a thread-loop, tie a knot, zig-zag.
zig-zag and cut the thread.
Snag another thread-loop, tie a knot,
4. Adding the Clasp Assembly
I like to anchor my clasps a little bit in from the outside border of my
pieces. This creates a more secure anchoring. It also helps to bring both ends
of the bracelet together, when worn, and minimize any “skin” that might show
between the two ends of the bracelet.
Here, I begin at the 2nd complete 8-beads-across row from the end. I am going
to add two new beads, which will sit on top of the 4th and 5th beads in this existing
row.
First, take one of your 7mm jump rings, and open up the gap wide enough, so
that you can slip two 3mm brass cube beads on. Close the gap, so that both
ends of the ring are touching each other.
Next, tie on a thread, a couple rows back from where you want to start, and zigzag your way so that you are coming up through the 4 th bead (between the 4th
and 5th beads) from the right of this Row #2 of 8 beads across..
Take your needle and thread and circle through the two beads on your jump ring,
and the two beads on the square stitched base below them, at least twice. If you
can, but often you cannot, circle a 3rd time. Pull tight on the thread. You want the
two beads on your jump ring to sit firmly on top of the two beads of your square
stitched base.
Rotate your jump ring so that the gap lies (thus is hidden) inside the beads.
Maneuver your needle so that it is coming up between the two beads on the ring.
TIe off the ring to the base. Go over the ring (between the two beads), pierce the
"skin", going down through the base. Come back up through the base, this time
in front of the ring (same place you started). Repeat a couple times. Tie a couple
knots. Zig-zag and trim.
Repeat these steps on the other end of the bracelet, and add your lobster claw
clasp.
Two cubes on ring.
Tie off two cubes on ring to two cubes on square stitched base off
the 2nd complete-8-beads-across row from the end.
Open the ring to slip on your clasp.
NOTE: If adding a lobster claw, be sure the lever is facing up on
top, and the hook is facing down.
Close the ring.
Rotate your ring so that the gap lies inside the beads.
Maneuver your needle to tie down the ring to the base.
Your Etruscan Square Stitch Bracelet is done!
Give It The Once Over...
Once your bracelet is done, look it over carefully. Now is the time to get out your
thread zapper or lighter. All of those tiny threads that peak out from between
beads will scream sloppy! Zap them all! or bring the flame on your lighter close
to, but not touching, the threads, so that they shrivel and ball up.
IIB. Dealing with Contingencies – Things that may happen
1. Running out of thread – Adding Thread
When it looks like there is about 12” of thread left, I start to plan to tie it off and
begin another thread.
To tie off the old thread, I snag a thread-loop, zig-zag through a few rows of
beads, snag another thread-loop and tie another knot, zig-zag through a few
more rows, and trim the tail of the thread.
To add a new thread, I start back a few rows. I snag a thread-loop, tie a knot
while leaving an 8-10” tail, and zig-zag up to where I want the thread to come
out, and continue where I left off. When I am finished with the project, I put a
needle on the tail, and zig-zag it through some rows of beads, before cutting off
the tail.
2. Some areas of your piece feel too loose, or are pulling apart
I snag a thread-loop and tie off a new thread a few rows below where the
problem is. I zig-zag my way up to the problem area, and reinforce it, by
weaving around and around and in and out, and across and back. The more
you fill the hole with thread, the tighter the piece will feel.
IIC. Finishing Touches
1. The thread tails
Be sure the tail has been anchored to the piece. If not, you’ll need to tie a
knot. Slip a needle on, weave back through a few rows in a zig-zag pattern,
and trim the tail.
2. Embellishments and fringes
You might want to add some 11/0 or 8/0 seed beads, or some mini fringe drops,
along the edges.
Or, you might want to add some beads on the surface of the piece.
3. Signature bead or embellishment
I think it is always a good idea to use a signature bead in your projects. This
might be a unique bead added near the beginning or end of the piece, or an
engraved tag added as part of the clasp assembly. You want your signature
bead to identify the piece as your own, but you don’t want your signature bead to
compete with or detract from your piece.
The general structure of this Square Stitch Bracelet has been around for
decades. Your personalization – choice of beads, choice of patterns, choice of
window (negative space) treatment – are your own touches, and deserve your
signature.
III. Summary of Learning Objectives You Have Met
After Accomplishing This Project
ETRUSCAN SQUARE STITCH BRACELET
LEARNING
OBJECTIVES
BEGINNER
INTERMEDIATE
TECHNICAL MECHANICS
1. Managing
Thread Tension
2. Holding Your
Piece To Work It
INTERMEDIATE
BEGINNER
3. Reading
Simple Pattern,
Figure and/or
Graph
INTERMEDIATE
4. Selecting
Materials
BEGINNER
5. Identifying
Areas of
Potential
Weakness, and
Strategies for
Dealing With
These
BEGINNER
6. Determining
Measurements,
including Width
and Length of a
Piece, Especially
In Relationship
INTERMEDIATE
ADVANCED
To Bead Sizes
7. Finishing Off
Threads in Piece
or Extending by
Adding Threads
BEGINNER
UNDERSTANDING CRAFT BASIS OF STITCH
1. Starting the
Stitch
2. Implementing
the Basic Stitch
BEGINNER
BEGINNER
3. Finishing Off
Your Piece With
A Clasp
Assembly
BEGINNER
4. Creating
Simple Surface
Embellishment
BEGINNER
5. Creating a
Simple Edging or
Fringe
6. Working Stitch
in Flat Form
BEGINNER
7. Increasing
and Decreasing
BEGINNER
8. Working
Stitch in Tubular
Form
9. Working
Stitch To Create
Open (Negative
Spaces), and
Split Forms
10. Elaborately
Embellishing the
Stitch, including
Fringes, Edge
Treatments,
Bails, Straps
BEGINNER
and Connectors
11. Working
Stitch in Circular
Form
12. Working
Stitch in Spiral
Form
13. Working
Stitch in
Diagonal Form
14. Working
Stitch in 3Dimensions
(sculptural)
UNDERSTANDING ART & DESIGN BASIS OF STITCH
1. Learning
Implications
When Choosing
Different
Sizes/Shapes of
Beads, or Using
Different
Stringing
Materials
2.
Understanding
Relationship of
this Stitch in
Comparison to
Other Types of
Bead Weaving
Stitches
3.
Understanding
How Bead
Asserts Its Need
For Color, Using
This Stitch
4. Creating Your
Own Design with
BEGINNER
This Stitch, in
Reference to
Design Elements
and Jewelry
Design
Principles of
Composition
5. Creating
Shapes,
Components and
Forms with This
Stitch, and
Establishing
Themes
BEGINNER
6. Building in
Structural
Supports, and
Other Support
Elements, into
the Design
BECOMING BEAD WEAVING ARTIST
1. Developing A
Personal Style
2. Valuing or
Pricing Your
Work
3. Teaching
Others The
Stitch
4. Promoting
Yourself and
Your Work
5. Advocating
for Jewelry as
"Art" and as
"Design"
IV. Next Steps
IVA. Suggested Readings
Teach Yourself Visually: Beadwork, (Chris Franchetti Michaels)
WARREN FELD
www.warrenfeldjewelry.com
Jewelry Designer
Director, Center for Beadwork & Jewelry Arts (www.landofodds.com/beadschool )
and www.LearnToBead.net
Owner, Land of Odds (www.landofodds.com ) and Be Dazzled Beads
(www.bedazzledbeads.com )
For Warren Feld, Jewelry Designer, beading and jewelry making endeavors have
been wonderful adventures. These adventures, over the past 25 years, have taken
Warren from the basics of bead stringing and bead weaving, to wire working and
silver smithing, and onward to more complex jewelry designs which build on the
strengths of a full range of technical skills and experiences.
All jewelry, artworks, images, designs, copy, Copyright 2012 Warren Feld.
All rights reserved. Warren Feld Studio