Bead Weaving on a Loom Part 5

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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 https://www.etsy.com/shop/carmilitaearrings

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 2

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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 https://www.etsy.com/shop/carmilitaearrings