| Palette
1: Amazonite
 d
|
HAPUA
REEF BRACELET
About the Kit...
Bead
Embroidery has been used to embellish and
decorate clothing since the dawn of civilization.
In both Russia and China, remains have been
found of bead embroidery dating back thousands
of years. In more recent history, bead embroidery
has been used to decorate religious items,
formal attire, and household objects.
Bead Embroidery is such a versatile stitch
that all beads are game! If you were working
on a large wall-hanging, larger beads would
be appropriate.
Conversely,
if you were working on a necklace or bracelet,
you would want to use beads that are proportionate
to your project. Within those guidelines,
any type of bead (bugle, seed, delica, drop,
etc.) would enhance the dimensionality and
texture of your piece.
We
create a canvas, decide how to give form to
this canvas, plan a design, and embroider
that design onto our formed-canvas. The challenge
is always to achieve a contemporary, artistic
look to your piece -- one that has a sense
of movement, dimensionality, a use of materials
that makes the ordinary 'noteworthy', and
good technique.
In
this piece, I wanted to re-create the colors,
patterns and lines of the beautiful forms,
waves and materials along the shoreline of
a tropical lagoon and the underlying reef
in the Caribbean. I especially liked looking
through the shallow water where it met the
beach at a particularly secluded part of the
lagoon.
I
also wanted to create an embroidery plan that
allows the student to learn several different
embroidery-patterning techniques within the
composition as a whole.
In the Hapua Reef Bracelet project...
LearnToBead
Goals:
-
Basics of Bead Embroidery, including
--- Preparing a brass cuff form, finishing
the inner and outer surfaces with ultra-suede
and Lacy’s Stiff Stuff foundation
--- Drawing a template and setting up a design
plan for your piece
--- Attaching beads to the foundation, using
various methods, including back stitch, couching,
bezeling a stone, placing beads linearly and
curvalinearly, crowding, cross-hatch, and
fringe-style embellishment
--- Adding an edging around your piece
|
|
*
ABOUT KIT
* LEARNING OBJECTIVES
* PHOTO DETAILS
* 1. Amazonite
* KIT CONTENTS
* ORDER INSTRUCTIONS
AND KIT
See
all available Instructions and Kits
Return
to:
BEAD
WEAVING
LearnToBead.net
Land
of Odds
TABLE OF CONTENTS
This set of instructions
is organized as a series of
Jewelry Design Choices:
SUPPLIES LIST, p. 3
I. Planning Your
Project, p. 5
IA. Conceptualizing Your Piece, p. 6
IB. Measurements, p. 7
MAKING A LARGER SIZED BRACELETIC. Selecting Materials,
p. 8
IC. Selecting Materials, p. 8
ID. Sketching a Pattern or Graph, p. 9
IE. Identifying Potential Areas of Weakness within
Your Piece, p. 10
IF. Support Systems, p. 10
IG. Visualizing Your Process, p. 10
IH. Organizing Your Work Space, p. 11
II. Beginning Your Project, p. 12
IIA. Basic Steps, p. 12
STEP 1: CREATE TEMPLATE AND FOUNDATION, p. 13
STEP 2: BEZEL AROUND CENTRAL STONE, p.14
STEP 3: PREPARE THE CUFF BLANK WITH ULTRA SUEDE,
p. 18
STEP 4: EMBROIDER A CIRCLE AROUND OUR BEZELED STONE
USING BACK STITCH, p. 19
WORK ON RIGHT SIDE FIRST
STEP 5: EMBROIDER SCALLOP PATTERN AROUND LARGER
BEAD USING BACK STITCH, p. 20
STEP 6: LAY A LINE OF BEADS USING COUCHING, p. 22
STEP 7: APPLY “OVER THE FENCE” TECHNIQUE,
p. 24
STEP 8: ADD 2 MORE SCALLOP PATTERNS, ONE AROUND
A FRINGED CENTER, p. 25
STEP 9: CROWD A GROUPING OF DROPS USING BACK STITCH,
p. 27
STEP 10: LAY DOWN A BUGLE WALKWAY USING BACK STITCH,
p. 28
STEP 11: ADD 3 PARTIAL SCALLOPED SEMI-CIRCLES USING
BACK STITCH, p. 30
STEP 12: FINISH OFF WITH CROSS-HATCH PATTERN USING
BACK STITCH, p. 31
REPEAT STEPS 5-12 ON LEFT SIDE
STEP 13: EXAMINE BEADWORK, AND CORRECT FOR ANY LOOSE
BEADS, OR UNDESIRABLE OPEN SPACES, p. 33
STEP 14: CUT OUT EMBROIDERED FOUNDATION, p. 34
STEP 15: GLUE OVER TOP OF CUFF FORM AND LET SET
20 MINUTES, p. 34
STEP 16: ADD SIMPLE BRICK STITCH STYLE EDGING AROUND
ALL 4 SIDES OF CUFF, p. 35
IIB. Dealing with Contingencies, p. 37
IIC. Finishing Touches, p. 38
III. Summary of Learning Objectives You Have Met
After Accomplishing This Project, p. 39
IV. Next Steps, p. 41
IVA. Suggested Readings, p. 41
|
