This dazzling beaded necklace looks elaborate yet is easy to make. It’s the perfect complement to any special occasion outfit.

What You’ll Need

?3 gold bails, 7mm
?3 black facet pendants, 9 x 32mm
?6 gold eye pins, 2-inches long
?4 gold jump rings, 6mm
?85 black facet beads, 4mm
?79 gold facet beads, 4mm
?79 crystal facet beads, 4mm
?1 black facet bicone bead, 16 x 18mm
?10 black facet bicone beads, 10 x 13mm
?20 gold flower spacers, 8mm
?2 gold fluted endcaps, 7/8 x 1/2-inches
?1 necklace clasp
?64 inches waxed linen cord or beading cord
?Wire cutter
?Round-nose pliers
?Needle-nose pliers
?Scissors
?Craft glue
To Make Black Facet Necklaces:

1.Attach bails to pendants. Insert bail ends into pendant holes and gently squeeze to secure.

2.Pendant Dangles: Use wire cutter to trim 1/4-inch from end of 1 eye pin. Trim 1/2-inch from end of another eye pin. Use round-nose pliers to turn a small loop at the end of the 2 trimmed eye pins and at the end of 1 untrimmed eye pin. Use needle-nose pliers to open a jump ring. Slip bail of 1 pendant and eye of 1 eye pin on jump ring. Close jump ring with needle-nose pliers. Repeat with remaining 2 eye pins and pendants.

3.Beaded Eye Pin: Thread the following beads on an eye pin: 4mm black bead, flower spacer, 4mm black bead, 16 x 18mm bicone bead, 4mm black bead, flower spacer, and a 4mm black bead. Trim eye pin, leaving 1/4-inch from end of last bead. Turn a small loop at end of eye pin. Loop should be snug against last bead.

4.Open a jump ring. Thread 3 pendant dangles and beaded eye pin on jump ring to form the necklace pendant. Close jump ring. Cut two 32-inch pieces of waxed linen cord. Thread both cord pieces through the eye of necklace pendant and center on cord. Set aside two 4mm black beads. Mix together the remaining 4mm black, crystal, and gold beads to use in a random pattern for the necklace.Thread the following bead pattern on one half of necklace: On each strand of cord, string eleven 4mm beads. Then thread both strands through a flower spacer, a 10 x 13mm bicone bead, and another flower spacer. Repeat 3 more times. After bead pattern is complete, thread 14 more 4mm beads on each strand of cord. Thread both strands through a flower spacer and a 10 x 13mm bicone bead to complete one half of necklace.

5.Open the eye of 1 eye pin. Thread ends of both beaded strands (from completed half of necklace) through open eye and tie strand ends in a double knot. Secure knots with a dab of glue. Trim cord to about 1/8-inch from knots. Thread eye pin through a fluted endcap, making sure the bicone bead is snug against the wide end of endcap. Then thread a 4mm black bead on the eye pin. Trim eye pin, leaving 1/4-inch from end of last bead. Turn a loop at end of eye pin. Do not close loop yet. Thread eye of one half of necklace clasp on loop before closing it completely. Close loop, making sure it is snug against last bead.

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My devotion to glass is insatiable, it’s molten state has an almost hypnotic effect on me. From a solid strip of glass on a hot flame, it becomes molten in front of your eyes and can then be manipulated by the artist to produce a beautiful intriguing lampwork bead. The bead may then become an integral part of a piece of jewellery, worn proudly for many years and passed down as a heirloom for generations to come.

It has been recorded in history the earliest form of glass beads discovered were made around 3000bc. These beads were used mainly for trade. In the late 1200’s Venice became the major city for bead artists when the production was moved to the island of Murano.

Lampwork beads were made directly from a furnace. A mandrel (wire) was dipped into the crucible of molten glass and wound around the mandrel. Further progress was made by the Venetians who used an oil lamp connected to bellows. The pumping of the bellows added oxygen to the flame in order to increase the heat sufficiently to melt a glass rod which would be wrapped around a mandrel to form the bead.

Today, as a lampwork artist my method of making glass beads does not differ greatly from the 1500?s. There is no longer the need to pump bellows to gain the desired heat, instead a bench burner is attached to a source of both gas and oxygen. These fuels mixed together produce a very hot flame in which the glass is melted and wrapped around a stainless steel mandrel coated with a bead release to prevent the bead from sticking.

The intricate designs seen on many lampwork beads are made in a variety of methods. A great deal of decoration is created by pulling a thin thread of molten glass called a ’stringer’. The stringer is then added to the bead whilst in the flame in dots or lines to form many different patterns.

There are quite a few major manufacturer?s producing glass rods specifically for lampworking. It is very important that the glass used in a bead is of the same coe - coefficient of expansion. This means the glass must be compatible with one another so that they expand and contract at the same rate, if not, cracking will occur. In many cases 2 glasses from different manufacturers or even the same manufacturer may not be compatible. My lampwork techniques are a little different in that I prefer to use compatible sheet glass which I cut into strips. This source allows me to work with a wider colour palette.

Some amazing effects can be experienced with the inclusion of fine silver wire. When added between 2 layers of glass the silver will often result in a gold colour, whilst on the surface will retain it’s silver effect. Leafs or foils of silver, gold, palladium and copper also add to the uniqueness of a lampwork bead. A new design can be discovered every day along with different shapes and intriguing sculptures.

The durability of a lampwork bead is often a question asked, after all it is made from glass. All lampwork beads with no exception should be put through an annealing cycle immediately after it is taken out of the open flame. This is achieved by placing the bead into a preheated kiln at approximately 530

Knitting patterns are, for the most part, pretty straightforward. This article is designed to break down and define each section of a knitting pattern so you’ll know what information to expect in what section. Not all patterns follow these guidelines, but most do.

Usually the page will start off with a title and photo of the finished product. These are standard and self explanatory. Now on to the juicy stuff:

Skill Level Easy, Medium, Hard or Beginner, Intermediate, Advanced are examples of the information listed here. A quick glance here is how to tell if a pattern is within your skill level.

Here are a few examples of what kind of projects you might find in each skill level:

Easy/Beginner

You’ll probably find a lot of scarves here, as well as potholders, place mats, handbags, some afghans and even a few sweaters.

Medium/Intermediate

Stocking caps, cable knitted scarves and sweaters, afghans with alternating stitch patterns and most knitted tops fall under this skill level.

Hard/Advanced

Generally, if an item has a very intricate stitch pattern, it’s likely to be in the Hard category. Knitting pictures and designs would definitely be a more advanced undertaking, as would any type of knitting that requires a lot of shaping.

Sizes, Finished Measurements
Generally the main size is listed in normal font with all other sizes in parentheses. Example: S(M, L). When you read the knitting instructions further down in the pattern, the first set will apply to the main size, with adjusted instructions for other sizes in parentheses. Also in this section you should see total finished measurements for this project.

Materials
Any thorough pattern will list in detail what materials you’ll need to complete the project.

-Yarn: Since yarn weights vary by type, look for patterns listing yarn in length, that way you can substitute a yarn and still know how much to get. -Needle Size: You should find information on the needles and needle sizes used to complete this pattern. -Miscellaneous Supplies: If you need stitch markers, cable needles or any other miscellaneous supplies, the pattern should list these here as well.

Gauge
The gauge section should read something like this: 10 sts + 10 rows = 4″ in Stockinette. This information is what you’ll use to check your gauge.

Pattern
This is where the actual knitting begins. The pattern tells you what stitches to use in what sequence to create the project named at the top of the page. A complete pattern will also include a list of the abbreviations used, but in some cases, it’s assumed everyone knows what those abbreviations mean. Even advanced knitters have trouble with this sometimes.

Some Important Points to Remember

When following any pattern, it is imperative that you: -Test your gauge before starting. There’s nothing worse than getting an hour into a project to find it’s 6 inches too narrow because your yarn is a smaller weight than the pattern calls for. -Buy all the yarn for the project at the same time. Dyed yarns have “dye lots” and it’s important to get all of your yarn for one project from the same dye lot. If you don’t, you have a good chance of getting different shades of the same color throughout yourknitting. -Take a break if you’re frustrated, as you’re sure to be at some point. Knitting is a fun and relaxing hobby, don’t let it turn into a chore to get that afghan or poncho finished!

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Beadworking your wedding day, from top to toe, will make the special day stand out from the crowd. With such exquisite beadwork around and designers only limited by their imaginations, creating that extraordinary event is easy.

Beads have always been popular with the young and the old but with the array of beads out in the market place, creations are limitless. Bead work can be as petite or as bulky as desired with the size, shape and color of the beads being the challenge.

If you decide to include bead work into your day, start with the most important attraction - the dress. Bead work can be placed on all parts of the dress but the upper bodice, around the arm area and the ends of the skirt are the main areas which attract the attention of beautiful beading.

By choosing a subtle color with a unique design, the dress can go from something plain to something with glamour and panache, at half the cost.

The bridesmaid dresses can share in the bead work but this time a lot more color and creativity can be included. As beads come in all different shapes and sizes, changing the types of beads used and mixing the colors around differing patterns can change the overall effect.

Even the groom can share in the day with beading added to his tie, handkerchief or even small amounts to the suit. Not to forget that adding small amounts of bead work to almost any aspect of the wedding can be achieved.

Jewelry is a must at any wedding and it needs to be given the appropriate attention. Exquisite earrings, necklaces and even head pieces all made from bead work will not only make a statement from the bride but will appear elegant with a touch of style.

Moving to the rest of the wedding is even easier. Bead work can be included in the center pieces of the guests tables, on the name tags or the serviettes and could even be included as part of the invitations.

When designing the wedding day, choose a color theme and style from early on. It will be easier to be creative once you have an idea of what the entire day will look like.

Swaying only minimally from the theme and style with each new aspect of the wedding, will give the appearance of a well blended and thought out event. But it will also give your wedding day a style that differs from the rest and will be talked about for years to come.

Doing your own bead work can be a time consuming task but can also bring great satisfaction. If bead working is not your cup of tea or time is too precious, then seek a professional who has the ability to create timeless, exquisite bead work in half the time.

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I love to find new uses for household and personal care products. Something in my personality is gratified by using double-duty items; my clothes are all separates, I re-use just about every jar, coffee can and old box, and recycle everything I can. So, of course, I’m especially happy when I find a product that will do double duty; such as this product created for hair that gets all frizzy in humid weather when you want it to lay straight and glossy. It’s called Biosilk Silk Therapy and is manufactured by the Farouk Systems, Inc. located in Houston, Texas, U.S.A.

I actually received my first bottle of this product so long ago, it was actually really inexpensive; something like $2bottle. Not, it is considerably more expensive, but they have refined the formula and it works better than ever on face, nose, ears, and lips. I’ve even used it to blow-dry my hair; a rare event, and never terribly successful, but one I still practice every so often just to keep up with being all girly.

I still can’t remember how I connected the idea of using this product on plastic beads, but I must have overheard something about some tire product containing silicone and retained it in my own peculiar, odd mix of a filing cabinet of memories.

I had purchased these very cool vintage beads made of black plastic and set with rhinestones. These beads looked as though they had once been gorgeous but, over time, had become scuffed and looked a bit “underloved” when they should look as if they had been long enjoyed, worn, passed down and while nowhere near “perfect” vintage, then at least “cared-for though used extensively” vintage. That’s my favorite kind of vintage; vintage with a story, vintage that has had a life. It has been worn by the various owners over the years, it has been loved, well cared for, enjoyed, maybe had an accident or two, gotten scuffed and dull over the years, has a few scars, but is still just as beautiful.

These beads needed a bit of the attention they had not received prior to becoming my beads, and would need to soon be worked into a piece of jewelry to be worn, loved, tossed around a little bit, maybe nabbed by the cat once or twice when he was collecting shiny things, as he does occasionally, and generally been allowed to live. So, I thought of the method I use to clean glass beads, grabbed the window cleaner, gave them a spritz and - yep, they turned a sort of white/gray and horrible looking. Washing, soaking, and a final, desperate scrubbing did noting but add that faux “worn vintage” look I had so wanted, but still they were discolored. I put them away in a drawer, sad but not yet out of hope.

A few days later, I received a shipment of sample beads from a favorite bead seller, the unspeakably cool resin beads from Natural Touch Resin Beads makes of the most gorgeous resin beads I’ve ever looked upon.

Naturally, having been shipped, imported, prepared for various shows, shown at shows indoors and out, some of these beads had become a bit grimy, in need of a good soapy bath. So, I drew a sink full of very hot water, added soap, then the beads, then walked off for about an hour to do something else.

I was sure that my resin beads were goners. they were goners. All of them, strands of resin beads, beautiful, fabulous, handmade resin beads, all that beauty, a dull whitish sort of cast, with almost no color remaining.

I had also pulled out some of those little glass globs - the type that are used in flower arrangements or in some stained glass projects - that looked like they had been tumbled to give them a matte finish. It looked like they were covered in some kind of dust, completely obscuring the color of the globs. When they were wet, I could see that these globs had a blend of clear and purple glass and were very cool looking, but I had to do something about the powdery finish that made the glass almost occluded. So, I applied the Biosilk, and what do you know - gorgeous! Still matte, but with a sheen, so that the colors inside the globs is visible.

Of course, I know that the application of oil or grease-based products will do the same thing to glass or plastic that has surface irregularities that give it a dull appearance, but I don’t care to use oil or grease on beads. It not only attracts dust and dirt, but it rubs off on clothing, smears, and, in some cases, can even go rancid, making the beads smell awful. The Biosilk product does none of that. Once I put it on the beads, it seem to soak in/ A bit of buffing removes any leftover product from the immediate surface, so it will not transfer to fabric or skin. It does not attract dirt and has, so far, not “turned” or gone bad, I and I first used it on plastic beads about five years ago.

I cannot say for sure that Biosilk is perfect for every bead made. I’m not even sure which ingredient makes the glass and plastic/resin look good, since I’m not a chemist. I do know that, unlike some silicone-based products, it does not seem to alter the plastic or dissolve it, making it gooey or sticky; it just seems to moisturize the beads, giving them a nice sheen.

Try it yourself. Pick up a small bottle, pull out few matte glass or scuffed plastic or resin beads, and give them a wipe. I bet you’ll be pleased with the results.

You can purchase Biosilk in 2 oz. bottles which, if you’re using it strictly for beads and not for hair, should last a good long time. I’ve had my bottle (the 5.64 oz. size) for well over a year, using it for hair, mostly, and have used less than an ounce. You only need a tiny bit of this cool product to rejuvenate your old plastic and resin beads. There are other products much like it. I can’t vouchsafe them, as the only one I’ve tried is the Biosilk, however, since the ingredients are basically the same I’m sure the others would work as well.

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