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Sun Star Brooch

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It’s been a long time coming, but I’ve finally finished my Sun Star Brooch tutorial.  This is my first bead embroidery tutorial, and has evolved over a number of years from a bezelled RAW ring to it’s current huge embroidered flamboyant form, with a centrepiece hand painted cabochon.  It plays to my ongoing obsession with Czech etched beads, particularly the larger sized seeds and absolutely amazing daggers.

Sun Star Brooch – Sarah Cryer Beadwork – Magic Apple

It uses a variety of bead embroidery techniques, including back stitch, bezelling using circular peyote, seeding and edging to make a statement brooch or pendant, and would suit beginner bead embroiderers comfortable with a needle – it’s an ideal project for beadweavers or embroiders looking to try out bead embroidery as it covers key basic techniques which you can then go on to try out in your own designs.  If you already have some bead embroidery experience, then this makes a lovely quick project – I can do one in an evening (although to be fair I have had quite a lot of practice and am a bit naughty about letting the glue dry properly).

Sun Star Brooch – Sarah Cryer Beadwork – Magic Apple and Crystal Marea

The thirteen page tutorial contains a full materials list, with suggestions for colour schemes, and every step is fully illustrated with a detailed diagram showing thread paths etc, with photos to show you what you are aiming for.  And of course every step is also written out clearly for those of us who prefer written instructions.

It’s available now in my Etsy shop as an instant download, as are the cabochons (both hand painted and Liberty print) and I hope to complete some materials packs in the next couple of days.

Once you’ve mastered the basic brooch, there are possibilities for variations which I hope to explore here over the next few months, so watch this space.   I’ve already worked out that you can add extra rows of embroidery around a smaller central cab if you can’t find a 30mm one:

How completely gorgeous are those capri rose etched beads?

And the advent of 2 holed daggers opens up some new ideas……..

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Playing with bright colours

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I’ve been a little short on beady mojo lately – I have some big pieces and tutorials that are nearly done, I keep having to restock my materials packs and I’m plenty busy, but because I’m procrastinating about some of those things I don’t feel I want to start any big new designs of my own.  But I do want to bead, and I want to bead really really bright.  So I dug out one of my favourite books, and knocked up a couple of pieces in very summery colours.

 

 

 

 

 

 

 

 

The book is Sabine Lippert’s Beaded Fantasies, and I’ve made my favourite ‘Granada’ brooch, and a necklace which is new to me called Art Deco Necklace.  Sabine is an incredible designer, and I’ve made tonnes of her pieces, and it’s been really nice to return to the first book of hers that I bought and bash out some simple, quick and very wearable projects.

Obviously I love making Granada, as I’ve made it at least twice before, and I really enjoyed Art Deco too.  Sabine’s patterns are always easy to work from, and although they are a bit condensed and harder to follow in the book than in her individual self-published tutorials (presumably because there is a lot less space in a book), the diagrams are good and I didn’t really have any problems.

And though I say it myself, I LOVE my colours!  All the beads were from my stash as these were spur of the moment projects, and I especially love the neon coral 6mm Swarovski Pearls, which I got on sale from Stitch n Craft, the Crystal Light Coral Swarovski Rivoli (also Stitch N Craft), the 3mm milky lime bicones from Robin’s Beads, and in the necklace, the neon red matte rounds from Creative BeadCraft (must buy more….).

And I’ve also used another excellent Stitch n Craft find, a brooch back with bail, which will enable me to wear the Granada as either a pendant or a brooch.

 

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Baroque Tape Measure Beadalong for International Beading Week

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The lovely Gill Goldfinch runs Whitstable Bead ‘n’ Banter, and rather excitingly is hosting a Bead in of my Baroque Tape Measure for International Beading week.

I’ve donated the patterns for the day to support the event and International Bead week, so if you fancy going along all you have to do is book in with Gill, and pull together the beads you need using the requirements list here  (or if you’d rather, you can buy a materials pack from my Etsy shop here, where I also sell hard to get 2.8mm drops, and robust Hoechtmass tape measures).

The Bead-in is on Wednesday August 1st and runs all day (10-4pm) at The Horsebridge, 11 Horsebridge Road, Whitstable CT5 1AF.  Please let Gill know in advance if you would like to attend so they can plan for the right numbers – you can reach her at gillgoldfinch@btinternet.com.

It’s a lovely chance to get hold of the pattern for free, and more importantly to get together with some friendly other beaders to enjoy a day of beading ‘free of domestic distractions’ (which sounds particularly attractive to me as I type with a 4 year old running riot).

More details of this and other events and activities being run for International Beading Week can be found here.  As well as meet ups and classes, there are lots of activities you can join in at home, including Jean Power’s legendary Summer Beadalong – even if you can’t get to a meet up the feeling of beading with other beaders across the world from the comfort of your own home is very uplifting, so have a look and join in!

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Beadworker’s Guild Challenge 2018 – Indian Summer

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Last year I finally managed to enter a Beadworker’s Guild Annual Challenge, and was lucky enough to win in my category of ‘professional’ with my Pineapple Rick Rack Fascinator ‘ Fascinating Carmen’. As soon as I heard the topic for this year was to be ‘Indian Summer’ I knew I needed to enter again – although now I have to be in the ‘Previous Winners’ category so that was even more daunting than being with the Pros.

I started work in late autumn last year, and knowing that I wanted to make something inspired by a late summer English ‘hot border’, pulled beads in Fuchsia, Orange, Purple and Bronze.

 

And boy do I have a lot of beads in that set – it felt like I’d been collecting treasures for years with this challenge in mind. I then started to bead, beginning with my favourite etched sliperit Czech beads, working through an idea for beading concentric circles to form a dahlia, working towards a huge set of flowers, and also working on some large beaded beads.

But then I discovered the wonderful work of Anna Bronze, a Russian artist working with lost wax castings to form beautiful natural forms. She had a beautiful range of seed pods and spices which played perfectly to the late summer theme, so I took a deep breath and ordered some (hand made work of this quality understandably does not come cheap). And when they arrived that of course threw the whole plan up in the air. The dark bronze was very striking, but didn’t work at all with the etched beads. It needed something deeper and richer, and I needed to get some crystals into play. And then I thought of the ‘Diva’ necklace I’d loved making earlier in the year, and started playing with putting together a collection of bezelled cabochons with the castings in a similar way.

On the huge tray of pulled beads I had some amazing ‘Crystal Astral Pink’ Swarovski stones which I’ve been hoarding forever, and looked amazing against the bronze. They also looked great with some lunasoft fuchsia cabochons, but that gave me a little too much pink, so I knocked up some cabochons of my own using orange Pebeo Prisme to balance them out. With the largest Astral Pink stone in the centre I was starting to get a bunch of stones that worked, but for a necklace I like to reflect the shape of the ‘decolletage’, so I needed something to basically point downwards into the chest! After a couple of failed attempts to make a marquise shaped cab myself I turned to Designer Cabochons and found a lovely dark marmalade agate drusy cab, and I had my set.

So I bezelled away, using bead embroidery for the pieces which would sit flat against the backing, with a backstich starter continuing into a peyote bezel, some with some picot or similar embellishments. For the large Swarovski stone which would sit in the centre I wanted a beadwoven bezel so that it could sit up above everything else, giving dimensional interest, so I used netting, and featured some lovely dyed agate faceted beads I’ve been hoarding forever, along with sparkly crystals.  And I also beaded some similar bezels around some rivolis to form more ‘flowers’, and a different variant for some chatons – again these would add height, textural interest and of course sparkle.

As I beaded I checked the layout continually, taking pictures as I worked so I could assess (and remind myself of my plan later!).

Once I’d finished all the bezelling and finalised the layout I glued the flat backed bezels onto another piece of bead backing, and where needed, added more rows of bead embroidery. I added the bronze pieces, and then before adding the final bezelled rivolis and crystals, filled in all of the visible backing with seed beads, crystals and groups of fuchsia agate berries.

And then I beaded a simple spiral rope which was attached through the largest bronze piece on one side, and behind a rivoli on the other, and added a lovely Anna Bronze seed pod toggle clasp.

By the time I’d done all that the main piece was getting a little floppy – both from the weight of the pieces, and from the amount of stitching (as this will inevitably make the backing less rigid), so I added another slightly smaller layer of Nicole’s Bead backing before adding a fuchsia Ultrasuede backing fabric and beading round a simple ‘sunshine’ edge. I had planned to do a fancier edging but at this point I realised that I needed to stop and not overdo things!

So, the finished piece was ready, and I posted it off to the lovely Denise at the Guild, who runs the challenges. And this was my description ‘Inspired by the work of the late Christopher Lloyd I planted a ‘hot’ bed. Filled with dahlias, cannas, bananas and tropical beauties in hot and rich shades, and with bronzed foliage and interesting seed heads, it would look its very best in the balmy ‘Indian Summer’ of early autumn. Unfortunately the English weather combined with an appalling number of snails means the crucial dahlias keep drying out or getting eaten, so this piece represents how it looks in my imagination rather than in reality. It includes my own hand painted cabochons, wonderful Anna Bronze findings, Swarovski crystals and much more.’

That was several months ago, and although I knew the judging was last weekend, it was a lovely suprise to get a phone call from Denise on Sunday morning to say that I’d won their ‘Founder’s Award’ – which as well as £100 and a trophy conveys the honour of making the piece ‘which the Judges select for the quality and imaginative use of beading stitches to enhance the design of the piece’.  As per last year the necklace will now embark on a tour with the Guild, visiting shows around the country on the Guild’s stand, and hopefully generating some interest and new beaders.  Again as per last year I didn’t take any particularly good pictures before I posted the piece off as I thought it would be back soon, so until we see some professional images in the next Beadworker’s Guild Journal these are all I can share!  If you fancy a look at the other entries, they are available in here on the Guild site.

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Learning Tambour Embroidery

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For a long while I’ve wanted to have a go at tambour embroidery, specifically of course, tambour bead embroidery.  This is a couture technique, and not widely practised in the UK, but in theory it allows you to add beads and sequins quickly to fabric, so it seemed interesting!  After a bit of research I discovered that the reason it is a specialist skill is that it is really quite tricky to do, so I rejected my original idea of learning alone and instead started looking into courses.  Luckily for me I ended up with 2 options – a 1 day introduction at the world famous Royal School of Needlework (RSN) at Hampton Court, and a 2 day course at Hand & Lock, the wonderful London based embroiderers.  The RSN course was cheaper and closer (we only live 10 minutes away) and easier to manage from a childcare perspective than a full weekend, and although it was shorter and didn’t specifically cover the bead/sequin side (unlike the Hand & Lock course) it seemed like a good way to try tambour work, so I waited for one to be announced and then booked.

So then a few months later I found myself arriving at Hampton Court nice and early (before it opens to tourists) on a very wet and cold Sunday morning.

We’d been instructed to meet in a room behind the main ticket office, which by the looks of it is usually used for school trip lunches, and over the next 20 minutes it filled up with ladies waiting for their courses.  We were then given our passes by an RSN staff member and walked in the back entrance (past Elizabeth I’s kitchen) to the RSN studios, which are located up a private staircase in the Georgian wing.  Our classroom for the day overlooked the amazing formal gardens which run from that wing to the river – an amazing and very evocative location (no doubt a source of inspiration for RSN students and teachers over the years).

Our tutor for the day was Caroline Homfray – friendly, knowledgeable and very patient (luckily for some of us).  The class had an interesting mix of attendees, from serious amateur embroiderers who’d been on many courses, to teachers, former RSN students (the RSN don’t teach tambour on their main degree course – boy were those girls quick to pick it up) and then a couple of random people like me who work in fields other than embroidery such as couture bridalwear and knitwear (and beadwork – me).  We all worked at very different paces which Caroline handled extremely well – I must admit I was relieved to be somewhere in the middle.

The tambour hook is I must say quite hard to master – it’s probably the fiddliest textile technique I’ve ever tried (and I’ve had at least a go at quite a few).  By lunchtime although I was producing a neat chain stitch I was still finding it quite trying, and felt a bit like this might end up having been an interesting day out, rather than something I was going to continue with:

But during the afternoon I got slightly more comfortable, got faster, and spent a lot less time accidentally unravelling what I’d just done (the tambour chain stitch unravels at the slightest pull, worse than knitting, so the most important thing to learn is to remember to secure the thread).  I went home with a good mastery of the chain stitch, being able to add one off beads, and having seen Caroline add strings, and when I got home I set to and practised – that evening, and then every evening for the next week.  Getting the strung beads on was a really important step for me psychologically  – I hadn’t expected to learn it in class, but Caroline gave us a good demonstration and more importantly made sure we were fully competent in the crucial basic chain stitch, and were able to turn corners and fasten on and off properly, so then adding the beads wasn’t too painful on top of the foundation she’d given us.

So then I rummaged in my stash and found some varigated threads, and more beads, and kept playing until I’d utterly ruined Caroline’s tasteful sampler, but had the hang of things and felt ready to tackle my own designs.

First line of beads on Caroline’s design
More beads!
Bugles – these work brilliantly

Which meant some shopping – for organzas and tulle (in tambour beading the beads are added to the underneath of the fabric, and I’m not ready to use opaque fabrics yet!), for strings of sequins, and for threads.  In my stash I had lovely hand dyed threads for machine embroidery (must do some more of that!), beads (obviously) and on Etsy I found a tiny number of sellers of tambour supplies where I bought strung sequins (both vintage and new) and gloving thread (a strong waxed cotton thread which is normally used for hand sewing leather gloves, but works well for tambour work as it doesn’t split so is easy to hook and copes better with sharp beads than the standard sewing thread we’d used in class).  The strung sequins are a delight to work with, and once I started using them I really saw what an exciting new range of textures and effects will be available to me – from simple lines to complex layers and patterns.  Very exciting, although I need to keep practising to get my speed up.

And here’s what I’ve done so far – very, very early days, and I really now need to find some more time to focus on this (it’s been a month since I did any now).  As well as teaching me a new beadwork skill it’s really re-awoken my old love of embroidery, so expect to see a lot more combined threads, fabrics, beads and sequins in my future work.

First piece in progress
Sequins and beads
Bead embroidered centre
First one
Working from the back
Lots of chain stitch
Front in progress

Suppliers/Links:

Caroline Homfray works with her sister Sarah Homfray, who has an excellent shop and website, and they both have a very informative YouTube Channel.

The Royal School of Needlework hold classes at Hampton Court, near London, and in other UK locations and around the world.  The class was really very good, and the location amazing – their programme is well worth a look, and their exhibitions, work and students are really inspiring.

I got my sequins from Fileusedetoilesandco, Oh Belka Tresors, and De La Broderie.  They should keep me going for a while…..

The lovely Sajou gloving thread came from De La Broderie, and from Penelope Textiles.

I’ve replenished my stash of silks, tulle and organza from The Silk Route (who sell conveniently hoop sized squares), and gone a bit mad buying yet more hand-dyed threads and fabrics for future mixed technique projects from Stef Francis.

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In my Folksy Shop

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A while back I decided to make life easier for myself by taking my faster moving items (tutorials and materials packs) out of my Folksy shop, basing them solely on Etsy.  That way I didn’t have to fret about the materials packs being sold in two places at once, or manually e-mailing out the tutorials.  This was particularly important because most of my customers are over in the States, and tend to buy things while I’m asleep!

But because my Etsy shop is busy, it’s kind of sucked up my attention, and I’ve rather neglected my Folksy shop.  This is a shame, because it’s got some lovely pieces in, and they deserve a good home!  And they could probably also do with some new friends from the legion of half finished or finished but undocumented works which are cluttering up my new storage (more on that another day).  So I’m going to be working on refreshing the shop over the next few months, and thought I would start by reminding myself (and you) about some of the lovely pieces in there, starting with my Egyptian Collar.

A few years ago (OK a lot of years ago since it was pre children and the oldest boy is nearly 8) we went to Egypt.  This was the result of a long obsession by both myself and Dr. Indecisive Beader with all things Egyptological, and it’s inspired quite a few pieces in the years following.  This necklace was inspired by the amazing collars we saw both for real and in various paintings.  And as a special offer it is currently reduced from £75 to £60.

Egyptian Collar £60

The collar forms part of my ‘minerals’ series – pieces focussed around a central stone. The stone in the collar is a lovely matte Chrysocolla, and it’s captured with Miyuki delicas, then joined onto a herringbone band, which uses changes in bead size to form a flat, circular collar which sits really nicely round the neck.

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More Cabochons

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So I’ve been playing again on the cabochon front. A chance discovery during a session of poster paint salad spinner painting with my youngest (google it) led to a very painterly set using the run off which reminded me of Monet’s Water Lilies.

That led immediately to another set using the kid’s paints, doll’s cups, and basic acrylic dirty pour techniques.

And then another couple.

Because these are all made using water based paints I won’t be selling them as I’m concerned about their durability in wear (although I am making things for me with them!) but panic not, because I’ve moved onto doing mini pours with actual acrylic paints, which are waterproof when dry, so will (hopefully) lead to some saleable versions. I say lead to as this is a whole new technique, with a new set of challenges, particularly around colour selection, so I’ve got a way to go. It took a year to get the Pebeo method right, so it may be a while, but it’s fun trying.

As well as the different patterns formed the acrylics come in a wider range of colours than the Pebeo, and are of course mixable, so I can finally make cabs with some of the colours Pebeo don’t offer such as fuchsia, pure white, black, and lime . Which is good as I use a lot of fuchsia!

Anyway, watch this space and I’ll let you know how I get on, and if and when I have some ready for sale I’ll let you know. In the meantime I have some lovely Pebeo ones for sale in my Etsy shop, and hope to list some more over the next week or so. If you favourite my shop in Etsy you’ll see any updates or new products in your personal front page, or keep an eye on my Facebook page (I post all shop updates there but Facebook might not show them in your newsfeed, so it’s always a good idea to pop in every so often and see what I’ve been posting).