Bead Weaving on a Loom Part 5

Purchase Handmade Bead Jewelry at Reasonable Prices at: Carmilita Earrings

Fobs— In general the background of a fob should be dark, but one that is charming with light summer gowns has a white crystal background of 5-0 cut beads with an apple and leaves woven on it. The former is of dull-red and gold-lined crystal beads; the latter in two shades of olive-green crystal 5-0 cut
The darker shade of green is also used for the tiny leaves at the end of the apple. This design and (which is in dull green crystal and chalk-white on a dark blue background) are repeated the whole length of the fob.

Another fob is of dark purple beads for the background and silk warp and woof threads, with a single bee woven near the lower end. The wings and part of the outline of the thorax are of opalescent beads; the remainder of the outline, the thorax, head, and dark stripes on the abdomen of black, while the light stripes are of amber crystal and the eyes gold-lined crystal beads.

A design of thistles in purple and gray-green opaque beads (No. 5-0 cut) is woven on a black background of the same beads.

The usual method of attaching these woven fobs to their mountings is to lap the end of the woven work around the bar and, turning the edge in, stitch it firmly to the underside of the work with silk of the

In making designs for chains or fobs (where the work is worn vertically) it must be remembered that as the beads are oblong rather than round a design drawn on squares will naturally work out as if it were elongated. If the design is drawn wider than it should look on paper it will work out correctly. This does not apply so much to designs that are to be worked in 5-0 cut beads, which are more nearly round.

Belts— Chalk-white beads make one of the best backgrounds for woven belts, which look most attractive with summer gowns. The design in Fig. 26 may be woven in Indian red, and black 4-0 beads on such a background, or two shades of green or pink crystal beads on the chalk-white, will make an effective belt.

Figures from an old rug suggested the design, which is woven in dark blue and dull red on a white background. A pretty combination is of chalk- white and gold-lined beads in a diamond pattern on a background of old-rose crystal beads.

An attractive belt may be made from the pattern shown in, using 4-0 dark-blue beads on a chalk-white ground. Green beads on a white crystal background are also effective.

Card-Case Materials Required: · 8 spools of pale-blue buttonhole twist, letter D · 1 spool letter A pale-blue sewing-silk · 2 bunches palest turquoise-blue beads No. 5-0 · 1 bunch each of black, gold-lined crystal, dark-blue crystal, and dull-red crystal beads No. 5-0 · No. 12 needles

The soft colors and interesting design of an old rug suggested this card-case, and fortunately the colors were obtainable in beads. One hundred and one warp threads of pale-blue buttonhole twist, well waxed, are strung on a loom wide enough to hold them.

A No. 1 2 needle is threaded with pale-blue sewing-silk, also well waxed, which is tied to the warp thread at the extreme left. On this 100 turquoise-blue beads are strung and woven into one row. In work as wide as this, where taking out a whole row is quite a labor, two precautions should be used. The beads should be threaded off their original strings with the needle, which will prove whether or not the hole in each is large enough to allow the woof thread to pass through it a second time, when the weaving is done.

It will also be wise to use a separate woof thread for each row, tying the two ends together as the row is
completed. A second row of plain blue is woven, and then the pattern is worked according to Fig. 30. with black, gold-lined crystal blue and dull-red crystal beads, for twenty-seven rows.

This is followed by twenty-six rows of plain blue, and the case is completed by repeating the pattern and weaving two more rows of plain blue, to correspond with the beginning.

The work is then taken from the loom and a lining with pockets made of pale-blue silk interlined. The woven beadwork and lining are then basted together and sewed over and over at the edges with pale-blue silk.

The end of this series of Bead Weaving on a Loom.

Reference Used: White, Mary. How to Do Beadwork Complete with 100 Illustrations . Kindle Edition. Copyright 1904 by Doubleday, Page and Company Published May 1904 (in public domain due to expiration of copyright)

republished by: Connie Limon, Bead Jewelry Artisan
Purchase Handmade Bead Jewelry at Reasonable Prices at

Bead Weaving on a Loom Part 4

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Another three-bead chain is woven of olive-green crystal beads with a design in palest turquoise-blue opaque beads (see Fig. 5). The five-bead width is perhaps more generally used than any. A chain in 4-0 opaque turquoise-blue beads has a pattern in opaque white (see Fig. 6). Another chain in almost the

same colouring is woven with the same-sized beads. It has tiny palm-leaves in black and white on a pale-blue background. The 5-0 beads make more beautiful chains. A design for one in white opaque and a deep shade of blue-green crystal beads is shown in. On a background of palest blue opaque beads leaves and berries of mistletoe are charming. The leaves are deep olive-green crystal beads and the berries the pearly white beads that look almost like seed pearls. The same design woven on a ground of gold-lined crystal and with a scarlet opaque bead instead of a pearl suggests holly. A dainty chain may be made from, using chalk-white beads for the groundwork and dull-red crystal for the design.

Pearly white beads form the background for a much-conventionalized flower in old-rose with a stem of olive-green crystal beads. Blue and white beads are combined in.

The white may be pearly or milk white and the blue as dull a shade as can be found in a medium-blue 4-0 bead. A simple design in opaque terracotta looks well on a background of white crystal beads. Pale-amber crystal beads may be used for the background and opaque or pearly white and black for the pattern.. It is beautiful when woven with blue-green crystal and black beads on a ground of pearly white.

It is difficult to find a good shade of blue. Dull or dark blue without the disagreeable purple tinge seems
unknown to or unpopular with the Venetian bead-makers. The nearest approach to a soft blue of medium shade obtainable was used in weaving the broken diamond. The beads were crystal and the background also was of crystal, gold-lined. Difficult, perhaps, but rich and beautiful in design and color. The beads are olive-green and gold-lined crystal.

A combination of stringing and weaving makes an attractive variety in these chains. The weaving is begun as usual. Choose a pattern five or seven beads wide — one like, for example — -in which the design is not connected, so that pieces two inches or more may be finished separately. When one of these sections has been woven the long ends of the warp threads are unwound and strung with beads of a color used in the weaving.

There may be two or three of these strings,’ the extra warp threads passing through the beads already strung. If the slides are two inches long about five inches may be strung. The effect will be as if the chain were of strung beads with solid slides here and there. The beads should be 4-0, and the warp strands not coarser than No. 90 linen thread.

Chains seven beads wide are often woven with beads of 5-0 size. Three designs for these are given. The one in Fig. 18 shows the Swastika in green opaque beads with a single black one in the center on a background of white opaque is of old-rose crystal beads with the design in black.

Opalescent beads make the groundwork, and the simple pattern is woven in crystal beads, gold-lined. A still wider chain of 5-0 beads, nine beads wide, is in two shades of violet outlined with pearly white on an olive-green crystal foundation. This design makes an attractive one for a belt if woven three times as wide.

Continued in Part 5

Reference Used: White, Mary. How to Do Beadwork Complete with 100 Illustrations . Kindle Edition. Copyright 1904 by Doubleday, Page and Company Published May 1904 (in public domain due to expiration of copyright)

Bead Weaving on a Loom Part 3

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A No. 11 needle threaded with No. 90 linen thread or Kerr’s cotton No. 000 is tied on the left warp thread close to the bar and brought out to the right, under the other threads. Here three amber beads are strung, brought under the warp threads, and pushed up between them. The needle is then run through the beads from right to left, taking care to have it go above the warp threads. The needle is again brought out to the right below the work, one amber, one black and an amber bead are threaded on, pushed up between the warp threads, and the needle is passed through them from right to left, as before.

The same process is continued through the length of the chain, working out the pattern shown in Fig. 3. In joining a new needleful of thread the weaver’s knot is used. It is made as follows. The joining, of course, is done at an edge of the chain. Hold the old end in a vertical position, laying the new thread back of it, its short end turning toward the left, and projecting an inch or more beyond the vertical thread.

Bring the long end around in front of the vertical thread, up back of its own short end on the left, and across in front of the vertical thread. All these threads are held in position by the fingers and thumb of the left hand while the right hand brings the thread around. The vertical or old end is now turned down through the loop in front of it and there held by the thumb while with the fingers of either hand the long and short ends of the new thread are pulled up tight. This, if properly done, will make a knot that will not slip.

To further insure its holding, touch it lightly with paste or glue. There are several ways of finishing chains. The warp ends may be sewed securely to either end of a bit of chamois; this is the method usually chosen by the Indians, or both may be fastened to one of the small metal clasps used to hold a fan.

Still another way is to bring the warp threads at either end of the chain together, and, fastening them on
the loom in one row, weave a solid square which will be one bead more than twice the width of the chain, as one bead must go between the two outer warp threads thus brought together. Beads of the size and colour of the background of the chain are strung on the ends of the warp threads for an inch or an inch and one-half, making a fringe. The ends of the warp threads are then run back through the fringe, starting at the next bead but one from the last, and finishing off by sewing to the edge of the woven square. The design shown in Fig. 4 is for a three-bead chain in 4-0 beads. It is particularly attractive if woven in three shades of a colour or two shades and white crystal beads. Shades of violet, pink or green make beautiful chains.

Continued in Part 4

Reference Used: White, Mary. How to Do Beadwork Complete with 100 Illustrations . Kindle Edition. Copyright 1904 by Doubleday, Page and Company Published May 1904 (in public domain due to expiration of copyright)

republished by: Connie Limon, Bead Jewelry Artisan
Purchase Handmade Bead Jewelry at reasonable prices at:

Bead Weaving on a Loom Part 2

Purchase Handmade Bead Jewelry at reasonable prices at:

The roller is now ready to be placed in position. Pushing the nail which projects from one end through the hole in the left diagonally placed strip (as you hold the loom with the end which has no strips toward you) , bring the hole in the other end of the roller against the hole in the opposite strip and drive the sharpened end of the crank through into the roller. To the right-hand diagonal strip a short piece of No. 60 linen thread is tied, and the other end is attached to a five- eighth-inch pointed nail. This is to be fit into any one of the small holes in the end of the roller to keep it from turning. One of the gimp tacks is driven into the outer side of each post about one-quarter of an inch from the top and projecting one-sixteenth of an inch. To one of these an end of a twelve-inch piece of florist’s wire is firmly attached.

One hundred black 4-0 beads are strung on it and it is laid along the bar, drawn up taut, and wound firmly around the tack at the opposite side. At the other end of the loom a similar piece of wire, threaded with the same number of beads, is stretched and firmly fastened. These beads hold the warp strands and are better for the purpose in many ways than wooden or metal notches. They hold the threads securely, yet do not cut or injure them; they space the strands better than the metal notches,are simple to adjust, inexpensive, and easily obtained. Let us start with a narrow chain, Fig. 3. The beads amber and black.

Four pieces of No. 60 white linen thread well waxed, a few inches more than the length chosen for the chain (seventy inches, for example— sixty-two when finished), are measured off. In this, as in all of the woven work, there must be one more warp thread than the number of beads, so that there will be a thread on each side of every bead.

The four ends, each tied in a loop, are slipped on to a tack in the roller, and the long ends are brought up across the beads on the bar over to the beads on the opposite bar and down to the hooks, where they are drawn taut and tied securely. The loom is held with the roller end away from the person weaving, the beads in tiny trays or box-covers near at hand.

Continue in Part 3

Reference Used: White, Mary. How to Do Beadwork Complete with 100 Illustrations . Kindle Edition. Copyright 1904 by Doubleday, Page and Company Published May 1904 (in public domain due to expiration of copyright)

republished by: Connie Limon, Bead Jewelry Artisan
Purchase Handmade Bead Jewelry at reasonable prices at

Bead Weaving on a Loom Part 1

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It is not surprising that bead-weaving on a loom should have become so popular. The process is simple but interesting, the outfit inexpensive, and the results great for the time expended. Chains, belts, and fobs — even card- cases and bags — may be woven, and the work is fascinating. The loom is, of course, to be considered first. There are many on the market, but be careful to choose one that is simple and strong.

Perhaps the most satisfactory of all are the homemade looms. More than one weaver has done good work on a loom made of a cigar -box. The sides are cut down to within an inch of the bottom and a small piece of wood, the depth of the box, is fastened inside each corner to support the end pieces. Small notches, an eighth of an inch apart, cut along the top of the ends, hold the warp threads. Six tacks are driven below the notches on the outside of the ends at equal distances apart. Upon these the ends of the warp threads are wound. A loom that has proved serviceable may be easily made as follows by anyone with a taste for carpentering. It has this advantage, one that few looms possess — it is wide enough to hold the threads for weaving card-cases or bags.

Bead-Loom Materials Required: · A piece of wood 3/ 8 of an inch thick, 12 inches long and 7 1/ 4 inches wide · A round stick 1/ 2 inch in diameter and 18 inches long · 2 strips of wood 1/ 8 of an inch thick, 1/ 2 an inch wide and 7 1/ 4 inches long · 2 pieces of wood 1/ 8 inch thick, 1/ 4 inch wide and 3 inches long · 6 smallest picture-hooks · 1 package 2 1/ 2 oz. round-headed gimp tacks ·· 8 3/ 8 x 4 screws · 4 3/ 4 x 9 screws · 2 small pointed nails 5/ 8 of an inch long · A thick piece of wire from a package-handle · 2 pieces of florist’s wire 12 inches long · 200 black seed beads No. 4-0 · A screwdriver · Hammer · Knife · Sandpaper

Choose a piece of white or bass wood three-eighths of an inch thick, twelve inches long and seven and one-quarter inches wide for this loom. Any other wood may be used, but the lighter the loom the better.

If the wood is rough, it should be sandpapered. From a round piece of wood one- half an inch in diameter and eighteen inches long cut one piece seven and one-quarter inches in length for a roller and four other pieces two and three-eighths inches for the posts. These are fastened to the base with the three-quarter-by-nine screws, two at either corner of one end and each of the others an inch and one-
half from the opposite end, close to the edge of the sides. Across these uprights the two seven-and-one-quarter inch strips are laid and fastened with four of the three-eighth- by-four screws. To prevent splitting, start the holes for the screws with a gimlet. Make a small hole at one-quarter of an inch from one end of each of the three-inch pieces, fasten the opposite ends of these strips to either side of the base (at the end where the posts come exactly at the corners) with three- eighth-by-four screws, the ends pointing diagonally upward, striking the posts three-quarters of an inch from the base.

In the centre of one end of the roller make a hole one-half an inch deep and around it six smaller holes three-eighths of an inch deep and one-sixteenth of an inch from the edge. In the centre of the opposite end of the roller drive a sharp-pointed nail five-eighths of an inch long, allowing it to project about one-sixteenth of an inch. On a straight line drawn lengthwise of the roller drive round-headed tacks about half an inch apart, projecting one-sixteenth of an inch beyond the roller.

A heavy piece of wire, about three and one-half inches long, taken from a package-handle, is bent into the shape of a crank. The end which is to go into the roller is about three-quarters of an inch long, the other two angles being equal. The end that goes into the roller is sharpened either by filing or it may be laid on a stone and hammered flat.
Continued in Part 2

Reference Used: White, Mary. How to Do Beadwork Complete with 100 Illustrations (Kindle Locations 279-281). . Kindle Edition. Copyright 1904 by Doubleday, Page and Company Published May 1904 (in public domain due to expiration of copyright)

republished by: Connie Limon 10-9-16