Create a Bead Program Color-Journal!

I am versed in every bead pattern program available, purchased or found free on the Internet. In working with each one, trying to learn more about getting that perfect 'bead color match' it became evident that you must learn how to 'edit each bead color' offered in the pallet created by the Programmer!

More times then not, BeadTool4 is owned by more Bead Artists, then any other Bead Pattern Program. The cost is reasonable, it is very user friendly, the Customer Support is timely and Bead Pallets are kept updated. For these reasons, I have decided to use this particular Bead Pattern Program to discuss the necessity of honing the bead color editor in any program you prefer to utilize!

Even though there are many bead colors, stored in my Delica Pallet (originally created by the publisher) of BT4, needing to be 'tweaked', I'll just use one Delica Bead Color right now to show how every bead color in your pallet should be touched or double-checked.

I created a loom pattern in BT4, using all the right steps to create a gorgeous pattern.... so I thought! Once the requested Delica colors were pulled, from my on-hand stock of colors, I realized there were some poor choices made by the program's Bead Color Selector itself. For example, the color DB170 was chosen for a portion of my pattern, denoting an area of 'dark maroon tones' in my original photograph. Take a look at the Bead Color choice below, selected by BT4:
Now look at the bead cup below. This is the 'actual bead color' requested by the Bead Program, DB170. Looking at both, back and fourth, you'll notice there is a grave difference in color hue, tone and intensity!


Anyone who has created a pattern, in a Bead Program, has realized a great change in the 'completed bead Art' vs. the 'actual pattern generated', only after the beading is completed! Your heart drops and you start to find the positives, in what you completed. No doubt, you should! Anything beaded with time, passion and enjoyment, is something to be proud! But then, step back and realize how you can 'tweak' the actual Bead Program, so you can begin to build a firm foundation of proper color selections, for future patterns and bead creations!

Shown below is a montage of steps I take to make the color corrections, in my own personal bead program pallet, no matter what program I am utilizing. The original bead color request is shown on the left, with the necessary changes on the right.


BT4, like every bead pattern program, offers a way to change or recreate the proper color, for each bead color. When I make such color corrections, I also change the name of the bead and color number by not adding the DB to the new color number. This denotes to me that I have made such corrections already, in my pallet. You may find another way, to mark these changes for your own pallet!

There are over 971 different Delica colors. It is a timely undertaking to create the proper combination of color/hue/tint, for each one of them. The Programmers of every Bead Pattern Program, has no easy task. Therefore, I would like to also show how such mistakes might have been made, during their pallet creating process.

This picture shows a close up of DB170. It is a transparent bead, which allows light to enter the bead changing its intensity under various lighting conditions. Along with that, bead also has an AB Finish, (AB stands for "Aurora Borealis", which means "Northern Lights". It is done with a special process that puts a very thin layer of metallic atoms deposited on the surface of the bead.) Because it creates a rainbow of color, selecting the proper bead color using a cursor alone is not a concise method to denote an AB bead color. This is how the color is 'picked'. The small point of the cursor can pick up any one of the multi-colors this type of bead reflects.


My 'Paint' Program was used to show how many color variations you can find in this same cup of beads, DB170! I used the 'eye dropper' (color select) and the 'paint pail' (color fill) to create the sample card below. Notice all the colors I was able to pick out of this same bead cup! I could have found more, if I wanted to continue!
(On another note, many bead artists use this very method to create a color wheel for some of their creations as it can denote the best marriage of bead colors for any given project!)


Therefore, you can see how a Bead Program, offering you a base of bead colors, can make color mishaps that relate to a poor pattern. No Bead Pattern Program is created to offer 'perfect pattern and bead color choices', from the start. Each new Program should be considered your journal and the input you offer, from each pattern you create and color correction you make, will compile the perfect base for all your phenomenal personal patterned creations!

In closing, reconsider purchasing any bead looming pattern that doesn't offer the finished looming as a sample! It would be different, if you are looming a pattern given 'free', but to invest in a pattern and the cost of any requested bead colors, which can change in so many ways, may be disheartening! To keep a positive feeling, about creating loomed bead art, consider investing in a Bead Pattern Program. You can begin to learn how to use it, tweak it so you build a program that will work with your creative style and not hinder it!

This sample was using a particular bead pattern program, but every program created for the purpose of making bead patterns have to be 'worked'. There isn't a program available that offers a 'click, perfect pattern' option!

FOOTNOTE: In a reply from another bead artist, I think I should also mention: "It isn't much work if you double check your colors for each pattern, making changes as needed. Soon, you will have more completed then you think! Also, I guess I should have added that 'not every bead color needs to be adjusted and not every bead in every program"! I would just remember this blog post and add the motions to any pattern you may create from here on out! Your style of patterns may even limit you to using more colors then others! Adjust as you go... Makes it much easier. Be sure to also mark each color you have already changed by either marking it's name or adding a letter to the DB#.

Trice Edging!

Time, these days, is so precious to all of us! Even I am looking at ways to create the same level of quality loom weaving within a shorter amount of precious time! I want to share a technique I have been perfecting for a while, "Trice Edging"! This method allows you to 'weave and edge' at the 'same time'! Below are the steps in pictures.

String your loom as you would start any new loom project, warping one thread more then the number of beads wide. Now string on a good number of edging beads, or 5 more than the number of rows to weave, an 11/0 round, not tubular like a Delica. This type of bead lays much nicer for this simple line edge. You will want to thread 5 or so more number of beads than the rows you plan to weave. These can be added after the initial warps are strung or string the beads first and warp the loom with the two extra warps stacked with beads.

Attach your weft to the outside warp of your bead row, not the same thread holding your edging beads. Weave the first row as if the two outside warps with beads are not there!

Just after exiting this row, slide an edge bead up and run your needle inside, towards you.

Now add the next number of beads needed to weave the next row, in this case there are ten beads creating this narrow banding.

Before turning your needle upwards and running it back inside the same row of beads, above the warps (the usual loom weaving methods), pick up another edge bead from the other side.

Now you can continue the loom weaving technique of going back through the row of beads, keeping your needle above the warps.

When you exit on the starting side, pick up another edge bead, just as you did in the first step described. Continue weaving these steps until you reach the desired length of weave you need.

This Trice Edging Style, creates a simple edge with the edge beads sitting on their sides. This also finishes the weave to a classic look, no holes or threads showing!


I have many other variations of this same method, creating edges much more intricate then this. In the meantime, you can experiment with adding more or less beads and additional warps full of beads! If you plan on creating a scalloped type edge, you'll need to keep those warps free for movement as the warp threads will be used up or longer, than what you attach to the loom.

An Adjustable Clasp on a wide loomed cuff!

I just completed another cuff, with a design fit for the season! This is titled, "Who-Me Deer?". It is a 30 bead wide loomed cuff. When I create such a wide cuff, my main staple of clasp choices become a slide tube clasp. They have a long presence, mostly 35mm. I never cared for the design of a 'single loop' or 'small single clasp' on a wide cuff, because I wouldn't want it to flip or flop around on the wrist. I also feel that a single, small clasp, of some sort, on a wide looming, just doesn't offer a proper 'balance in design'.

The adjustable aspect, of this design, is also something I am sharing. It can be difficult to loom cuffs to an exact fit, without having the model to refer, so an adjustable design can be a great feature.

I call the end caps, seen in the photos above, my 'crunchy clasp' method. The reason being that beads are 'cracked' when they are attached. It can be very uneasy to think about the beads breaking, but my technique keeps the cracking of beads into consideration, long before I have to attach the 'CC's' to the ends!

The one end of this cuff is finished with a copper chain, for the adjusting part, topped off with a dangle, a custom made 'snow globe lamp work bead'. On the other end is a copper wire hook clasp and matching stones, again wrapped in copper wire.

Above is a montage of the edging. The large beads are 'copper barrels' aligned perfectly between four rows of looming. There is a 'stop bead' two beads inward because I wanted the barrels to lay directly next to one another. This stop bead allowed me to enter a row of looming then exit the same row of looming. To secure the large barrel beads further, I strung a strand of copper 11/0 glass beads, directly inside the entire row. This will keep each barrel bead in line, especially while being worn or bending the cuff. The opposite edge was finished in a simple copper color Permanent Finish 11/0 glass bead.

This method of clasping a loomed cuff can be the simplest way to manage the warps and still complete a cuff in a professional finished manner!

Designing A Pattern: What Approach Is Best?

Many factors are considered, when a new pattern or design comes to mind, but what approach do you take? I tend to approach my new creation from a 'subject/design' standpoint, as opposed to 'what will my stash allow?’ Either direction takes many winding roads until completion and both can be a perfect way to create. I have been thinking about this often lately and want to share some of my thoughts about each option.

A SUBJECT/DESIGN IDEA IS THE DRIVING FORCE: This direction has it's positives and negatives. The positive is that you will more then likely increase your bead inventory! Negatively, it will end up costing you more money then you would have spent, just using what bead colors you have on hand. Having said that, I would like to share this piece of advice about how to acquire the necessary bead colors.

If you have created a pattern, about the subject/design you want to loom, make sure you are narrowing the pallet down to the least number of colors, without loosing detail. Also, double-check your pallet to see if there are any colors that look very similar. I would merge these two, but first see where they lay in respect to the other. Also, every color hue/tint is offered in every finish style. Therefore, if you see a 'luster sea green' that is the same color/hue as the 'matte sea green, then make a choice between the two. More times then not, the finish style won't make a difference in a pattern as much as the color/hue choice would.

Finally, look over your bead count, for each color. There are approximately 200 Delica beads per gram. Notice how many beads will be needed per color. Calculate how many grams are needed per color. There are two companies, I know of, that sell Delicas by the gram, as opposed to most bead suppliers offering 4gram, 7gram or 10gram tubes. Buying by the gram will keep the supply cost lower, if you find you just have to loom a design using colors you don't yet own.

WHAT WILL MY STASH ALLOW?: This just may be the most creative direction to take, when starting a new bead looming. Those who prefer to design, from this direction, must be admired! I personally find this more difficult to juggle, "idea vs. stash". I will admit though, after I am well on my way to finishing up or needing to create the perfect edging, I do switch gears and take this approach. I'll look over what I own and can find those 'Ah Ha' moments very rewarding!

Would it be fair for me to say that bead artists who approach their new creations, from this direction, also have created gorgeous Free-Form and Bead-Embroidery? I am not sure of how these thoughts would play into this approach, because I have not tried either, but I admire those pieces completed in these two bead weaving techniques.

How do you sum up your approach to starting a new bead loomed creation?

Creating Dimensions!

There are many ways to create dimension, to a 2D looming pattern. One way is to add an outline, as I did here, for the basic design of my Lotus SLN. This gives depth without adding much more, but for me, it is adding an additional layer that I wanted to add.

It is accomplished much like you would complete 'bead embroidery', stringing three or four beads, taking a stitch then going back through the last two or three beads added. When I make my stitch, I am careful to only pick up either the warp or run my thread through a set of loomed beads. This way, I won't have any threads showing on the underside of my looming when finished, nor will I have to back my design.

To create the next level of dimension, I thread a 6mm Permanent Silver Metallic bead onto the thread, securing this bead in between the level I am adding and the base below. You can notice a few of these large beads, placed in between my petals. Some areas, I chose to add two instead of just one.

If you are familiar with 'Paper Tole', the art of cutting out the same design and reassembling the picture using silicone glue to make the picture look 3D. I call my method of creating dimension on this SLN, 'Bead Tole'.

Looking from different vantage points, you can see the dimensions come to life. I am even including some 'cupped' petals which will also create a realistic feel, as in the petal on the lower right side.

From the front view, you don't notice the levels of dimension, but after adding more, you will be able to notice this picture from any angle.

There is many more parts to chart/graph and hand weave, which will finally bring me to my total picture. I have attached all that I have completed, to this point, and will be graphing out other portions to hand weave. The green leaves, in the lower part of the Lotus, will be some of the last parts added, as they stand further forefront.

3D Lotus SLN

My next looming is something I have shared earlier, but needed to take some time off to complete a few commissions and other projects. I'll be looming full force on this SLN, from now on. To start, I am sharing a picture of where I am to date.

In the picture above, you notice the loomed base of my SLN, being the large part of my pattern, A Lotus. Also attached are a few of the petals, I am hand weaving. The entire Lotus will be completed with 3D petals and leaves. Here are few that I haven't attached yet.

After I complete the bulk of the 'petal additions', then I will complete the lower end of the looming, all the while I will be scribbling and graphing out some interesting designs for the upper looming. The warp weights attached are giving me 'creative license' to make some neat designs!

Final Pictures of 'A Glorious Day'

I named this Cell Phone Bag 'A Glorious Day' because the inspiration photograph was taken by Jean Upton, while she was on a walk/bike ride. The most appealing part of this photograph is the solid black background. I have been sharing stages of completion, but now I am glad to share completed pictures!



Below is a close up picture of the '3D Butterfly Wing', added as a focal to this panel.



The opposite side is loomed using the same color palette, of 44 different Delica Beads, but different Delicas were used as the predominate colors. My choice to keep the color theme going, had to do with how the fringe and strap are finished, reflecting both sides, of the cell phone bag.



Creating a spiral rope section, seems to be a good answer, keeping the strap strong. In this case, I used 10/0 hex cut, matte finish glass Japaneses beads. It spiraled up faster and offered that chunkier feel I wanted to acquire. The bead tubes carry out the same colors, as in both panels. Gems and Stones were also selected to match. I prefer to include sterling silver in between every bead, stone, gem or spiral, when I string up a strap.



As with many bags, cell phone or otherwise, they are more heavily used. Therefore, I always bead an epaulette, for each side. This way, I secure the four sides of the epaulette and attach the closed jump ring to the center. This gives a more security to the attached strap. I use jewelry wire to string my straps, ending with a lobster claw clasp. This can be removed, from the bag, for use as a wallet, or can be easily swapped out with an alternate handle. Notice that I also include three jump rings for the lobster claw clasp to hook on to, so there is additional strength.



A close up of the fringe shows how I used sterling silver caps. This, along with the opaque bi-cone Crystals, created the weight I was looking to acquire, making the fringe lay perfectly.



Looming a cell phone bag seemed to be something no one wanted to consider trying, thinking of all the warps needing to be managed. What I love about the loomed bag, is how they are supple yet sturdy and have no need to be fabric lined!

A Mini Mirrix!

I just received the Mini Mirrix, I ordered. This is adorable! I originally ordered this loom so I could start creating patterns for 'loomed earrings', but now that I have it in my hands, I see it would be great for loomed glass cases, credit card holders, small amulets, etc. The loom table is about 3" wide and is set up to warp 37 warps, or 36 beads wide (2" wide looming). If you are feeling courageous, then you could even add an additional 10 warps, throughout, which increases the width (just be sure to start in the center of the loom, center of your pattern).

This loom can also be extended up to 7" of looming, or can be loomed longer if you 'roll' your looming. Extensions could be considered for even longer.

One other great feature, I liked at first sight, it is very transportable. If you travel and want to include your looming, this is perfect!

I'll be finishing up the cell phone bag and try out an earring or two so I can get a few thoughts together for making some earrings patterns! I promise I'll share the pictures!

Use Beads to Build!

I have shared how the 'butterfly wing' was added, for character, but I didn't show how to secure. I stitched the one edge, of the butterfly, which allows for the 'lift' of proportion. To complete this lift, I wanted to secure the opposite side, but not sewn that down. Therefore, I attached the other side of the wing by including a 6mm Permanent Metallic Silver bead.


This will give the wing the 'lift' I wanted to keep, and allow it to stay secure enough that it won't be 'flapping' around, while wearing the bag. This is a technique I do often, in my 3D building, adding beads underneath!


I have also completed a 'beaded spiral' and beaded some bead tubes, to finish the strap. The beads in the spiral are 8mm cut glass, matte finish. I love how they give the texture, in this spiral. I also used them in the center of two bead tubes! These, along with stones and gems I purchased and showed earlier, I will string the entire strap and secure.

The bottom of the bag is also closed, at this point, and I'll be fringing it with a short fringe, to include all the colors of the bag.

Design With Character!

Working to complete this cell phone bag, I wanted to stop and share how you can often consider adding 'something' that will bring character to your bead work. The original photo I used, for this cell phone bag, spoke to me as soon as I saw it! Great photo by Jean Upton!

I hand wove a portion of the butterfly wing, using my sense of 'dimension' and perspective. When you want to replicate something, ending up sitting further off the original plane, then consider making the added part wider and longer. Once it is attached, it needs the extra size or it will look smaller then the original picture part.

Here, I attached the wing along one side, on the left portion running along the body of the Butterfly. Underneath, I threaded a 6mm bead to become a 'cushion' so the wing will not press flat against the cell phone bag panel. I'll share more detail pictures later, when the piece is completed.

Securing Beaded Panels

Since my last updated post about this cell phone bag, I have completed finishing off the warps, which I complete while still on the loom. Now I can begin the assembly of each panel and the strap.

My first step is to connect the two panels. I am using 11/0 jet black 'cut' seed beads, for shine. I'll layer them in groups of (3) beads between the panel, allowing the 'bend' for the bag. The looming is not forgiving when it needs to lay in a circular shape, unless I loomed this from the other direction (beads loomed top to bottom). For ease of looming, I like looming 'side-to-side'. So the connection between the two panels have to be more bendable. With each pass, in between the loomed beads, I am adding one 11/0 Permanent Silver Metallic Glass Bead. This gives more support for 'pull' if the sides are stressed, as opposed to me running the thread directly in-and-out of the looming, only.

The underside is just as flexible. I don't include the additional bead on this side, but I do make sure my needle passes in the outer edge of each bead, not below the looming threads. If you look close, you can see the looming threads but on the top, you can only see the bead edges.

I have also been planning the strap, for the bag. These are the beads I have selected, which are colors from 'both' sides of the bag. The large round black beads, at the top, were a great find. They are 'matte' finish with a 'glossy' dot, again, picking up the finish from the black used on both panels! I'll also be creating a beaded spiral section, to go behind the neck, using matte cut beads and weaving a few bead tubes to include in the strap.

I am still thinking about the fringes, what-how-beads-length, which is something we all do 'while still beading'....planning (dreaming) ahead!

Adding a Bead is best done 'Sticky'!

I am finishing up the last few rows of this panel, for the cell phone bag. (I got a bit 'side tracked' with another beading projects and some book writing!) There have been times, through out my looming, where I missed a count or left a bead color off a row, having to pull all the beads off and recount or find the place I dropped. There are many ways of correcting this mishap, but I found one way to be the easiest.

Enlarge the row of beads, in the picture below. Notice how many different colors are added to the needle, row for row. At any given time, a bead color can be over looked or a count of any bead can be missed. Instead of pulling the entire row off the needle, I like to use my 'sticky method' of replacing that 'missed bead'.


Using a white 'paper tape', I tape down a strip, sticky side up. This is something I keep by my side, while I loom, often. The paper tape does not leave any 'glue residue' and is 'just as adherent as any other tape.



After noticing there is a bead missing, while punching the beads upwards, between the warps, I recount to find the bead I must be missing. My first thought is how I hope it is one of the last beads put on the needle. Of course, it can't always be that easy! When I find the 'needed bead', I'll stick the row of 'keeper beads' on to the sticky side-up, of the paper tape. Then I pull out the thread and needle, exiting the entire row. The tape will keep the row in order, so I can re-thread the same beads, without having to follow the pattern again!



After I add the 'needed bead', then I run the needle back into the row, stuck on the tape. I can then continue to loom!



Another note, on using 'paper tape', opposed to any other. It is stiffer then most. Therefore, you can even lightly 'bend' the tape, sticky side inward, to hold the row of beads, if you feel the seed beads you are using won't stay well on a flat surface.

I wrote an earlier post, on how I remove an 'extra' bead, from my needle and thread. Again, I use a pair of pliers or small wire cutters, to catch 'just the edge of the bead I want to remove' and 'crack it' away-from-the-thread. Cracking any glass bead, directly over the thread it is threaded, will cut the thread.

Wave Good-Bye to 'First Row Ripples'!

This present bead weaving is considered a 'wider weave', 67 beads wide, opposed to many pieces woven by beaders. Cuffs can get wide, maybe even 40 beads wide (2 1/2"), but not as wide as this cell phone bag panel. This is a good time to reiterate how to deal with a 'long wavy first row'.

I receive numerous emails, asking me this very question, "Is it OK that my first row is not laying straight?". To answer this question, I will share some of my first few rows, on this cell phone bag panel. It may have been discussed before, here on my Blog or in my Website, but I feel it is worth discussing again.

Below is a picture of my first row, 67 beads wide, secured on the warps, as any other loomed row of beads. Notice how wavy this looks. This is exactly why some loom companies offer a loom they feel is created for 'various types of beads', (Czech, Delica, etc., but all 11/0). It's the spacing of the 'weft separator' that we are told makes all the difference. I strongly disagree, with this assumption. I use the same loom, some width separators, for most of my weaving, (The only time I change up looms is to acquire a larger 'loom table', for larger pieces, sized larger then the loom.). If you start in the center of your loom, center of your pattern, any loom will work. The other option is to just ignore the wavy reaction, as I do here.

If you prefer to start out with a 'straight row' of bead weaving, or feel you just are not sure it will work out as planned, then cut a length of 24 gauge craft wire. Thread this through the entire first row of beads. You can see in the picture below, it will straighten out the beads perfectly. Since you are not running your needle back through that row, then it can sit till you feel comfortable enough to pull it out, or if you need to remove it for your finishing techniques.

I feel comfortable keeping the row of beading as it is, without the wire support, especially for long rows. My hand is not wide enough to reach across the row, without rippling the beads, to run the needle through the rows that follow. Therefore, I can almost, 'grab my long row of beads' in my hand and release the row as my needle is threaded into the next row.

Below is a picture of how the rows will 'shake out' straight, if you don't thread the row with wire. You can still notice a wave, but it is getting much better.


Now that I have completed 28 rows, of the pattern I created, the 'wavy first row' is no longer an issue! It gets even better, after the piece is cut from the loom!

The best advice is to make yourself feel comfortable about what you are weaving. Use the wire technique if you feel you need to see a more uniform look, or just let it work itself out, as the rows increase. Weaving beads on a loom takes a lot of 'special time' and the last thing anyone wants is to feel they have to cut the warps and start over!

Pushing '2D Bead Loom Weaving' into '3D'

I have completed the one side, or panel, of this cell phone bag. Included in the picture of my weave, still on the loom, is a picture of my inspiration. This photo was taken by an amateur photographer named Jean Upton. She shares her photographs on Face Book and it was there I found all of her pictures to be gorgeous! She gave me permission to use one in a looming!

Posting this picture, gave me a idea to share some of my thoughts on 'subjects' selected for 'bead loom creations'.

Bead Loom Weaving is unlike many other methods of bead weaving. Since the canvas stays at a two dimensional flat surface, a pattern can make the difference. Oh, of course you can add to the flat loom woven surface, by embellishing and attaching a focal, but for the most part, it is a surface that stays flat. When you see a weaving that bowls you over, it usually is because the pattern and color selection over whelmed you, as opposed to a wonderful hand woven piece that is constructed to defy all beading strategies, standing 'up & out'. Not much use for a well thought out pattern or struggle over the 'right color' bead needed to draw out a subject, as it is in loom weaving the seed beads.

Patterns can be considered in many ways. Maybe a graphic is needed to offer a modern feel, or cultural idea, or out of a need for a pattern in general. I prefer to consider a subject, one that is understood and seen right away. It is through my desire to create photographs in beads, that I have acquired my best 'bead color lesson'.

Programs, which are the norm of use, for many beaders, have their faults. One of the biggest is the program's desire to constantly offer the wrong color for the same color seen differently by the eye! There is no such thing as 'instant perfect pattern', with any bead pattern program! I am versed in them all! Whether they are offered for sale or free on the web. I am also comfortable in using a method I created, before 'bead pattern program creation', using a graph acetate over a photograph. All of these methods, of creating patterns, need to be 'tweaked'. Its' the tweaking that teaches you more.

I am including a chapter, in the book I am finalizing, about bead programs and suggestions for 'tweaking' them. But if you want to get the best education on bead programs, use them! Loom some patterns and see how they play out. Make the changes in your program to not fall into the same 'mishap' again (wrong bead color selection, etc.). Try out creating a 'specific pallet' of some colors you see in the photograph and use the program to create the pattern with only those selected colors! Change up the bead width and length, even if it hinders your pattern width/height. One slight change of the bead number, makes a huge difference in a pattern! (Remember, it's the pixels of the picture the program is reading!)

Above all, apply yourself to use the programs and don't feel defeated if the bead looming does not relate to your mind's eye, as well as you hoped. You did learn something, and now own a gorgeous piece of loom weaving that only 'you' know has unfavored color choices!

Detailed Patterns Take More Time!

There are only 44 colors used, in this picture, but the number of each color required per row, are small. What I am saying is that each row must have approximately 34 of the 44 total colors used, on each needle pass. This is a slower process, because I am picking up only one bead color at a time, till the entire row is complete, jumping between the multiple bead color cups. I love the meditative feeling this offers, so the slower completion time won't bother me. But take such a pattern into consideration, if you feel that you want to see the finished piece sooner, to start on the next! Look over patterns to notice the rows and colors needed to complete. Of course, you can't deny the wonderful detail, but again, you may want a pattern that moves along faster instead.