Working with Cupchain as warps!

Anything similar to a string, thread, cord, etc, I know can be utilized in weaving on a loom, as a warp. In this case, I worked with 'Cupchain'.

Below is a picture of the cupchain I incorporated.
This is a Vintage piece, brass metal with an opal stone center. Cupchain comes in many different stones, glass, shapes and metals.

I started out knowing the cupchain was to be a part of this cuff, but I also wanted to include more movement. Therefore, I decided on other bead pairings to create more interest. This included various sized Glass Seed Beads, in an opalescent finish, the Satin line of Delicas and Swarovski Crystals in different shapes and sizes, but matching the cupchain stone.

I noticed a romantic feel, when completed. The idea to add the stain cords was just a 'must have'. In a corset style, I added the smaller brass ©Crunchie Clasps so there would be enough width to cover over the wide white/gold warp cord and offer the multiple jump rings, for lacing.

Each tip, of the Satin Cords, are capped with pearls, crystals and vermilion gold findings. These also give movement and weight to the satin cords.
Laid out flat, you can see the weaving, coming together as one.

Revisiting An Imporatant Tip

Working on my book, to meet the deadline, has kept me away from blogging as often as I hoped. I think it is a good time to revist some of my most important posts.

This is one post that should be revisted more often. A white weft thread truly makes a huge difference in the bead colors:
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The Weft Is The 'Bead Color Boss'!

This is going to be a cuff of 'Forget Me Nots', a small blue flower, which will lend itself to a 3-D build idea. When I start a new project, I always take the time to consider many facts. Because I loom so often, it is 'second nature' to me, just to grab the beads I want and the threads to begin. Today, it struck me how important this first thought should be, for any looming. Let me share how I begin.

This won't be the first time I have written the importance of 'planning your looming' before you proceed, 'Stay three steps ahead'. Take a look at the picture below, the first 30 or so rows of the cuff I just started. Look close at the 'warp' and 'weft' threads. Notice the difference in colors I am using. A decision for 'warp' or 'weft' thread color, begins after I select the beads, for any looming project, i.e. Subject of the bead work first, bead color selection second, then warp color and finally weft color. You may see that the 'warps' are strung using 'Green' and the 'weft' is 'Blue'!
I made bead color choices, for this picture, to include many bead finishes. There are Metallic colors, Silver Lined colors, Opaque colors, Ceylon colors and Transparent colors. The Transparent color helps me to decide what color weft to use, but I am also keeping the Ceylons in mind too!

Below is a picture of how the 'weft color' can change the entire color choice, for your looming!

I labeled each one of the bead types, along the top. The warps are Green, because my looming will have more green or dark colors, then any other, in the backgroud. On the right, in the picture above, you'll notice the different color 'wefts', sampling a row of the same bead types. Notice how the choice of 'weft color' can change your bead color. Such selections can determine your looming to be 'bright' or 'drab'.

Using the warp color, best matching your majority color in the looming, is correct, because it is the only portion of 'any thread used to loom' that will be noticed later on. As the looming bends or moves, the warps are seen in between the beads. The warp color needs to be a perfect match to the majority of bead colors selected.

However, using a correct color weft, will allow your bead colors to 'pop'. This thread will not be seen, when you are complete. So try to remember, "The Weft Thread is the Color Boss"!

"Sesen"

From time to time, we create something, with our beads, we feel is better than anything we have done prior. Since I am writing a book, deeply engulfed in looming, photo taking and writing, (which keeps me from writing in my Blog as often), I thought it would be a good topic of conversation.

This picture, of my Split Loomed Necklace "Sesen", is something I feel was one of my designing best, but has been shunned by some of the busiest beading contests. My post truly is not a pity party, but is actually a way to generate some thoughts, for you to consider, about your own talents. How often do you re-visit your stash of completed bead work?

From time to time, I look over what I have loomed and closely investigate what I have completed and how, maybe digging up the same inner thoughts I considered when originally loomed. There are some 'ah-ha' moments and there are other moments when I decide to put a piece further down the cabinet to keep for postarity's sake, only.

"Sesen", the SLN pictured above, is one I have scratched my head over. I think the looming techniques I incorporated were very new and different, but the additions of handwoven petals, all in the same stitch, is what makes this a 'simple', unmotivated design. Maybe I could have beaded each petal using various sized beads, various hand weaving stitches or not splashed the color through each petal to the point the pattern looks generated on a 'bead pattern program'.

That brings me to another point. My most revered pieces are those not patterned from a program, but those I have graphed or loomed free hand.

The 'subjective' aspect, of contests, is an argument for the ages. But right now, I am not concerned over the 'contest relevance' of my looming, but what can I see from my own past thoughts, intricacies of design and aspects of the techniques I once thought were so special they would make the piece my 'best design idea ever', yet now fall below the importance of my new creation. [probably should have been a sentence break in there :)]

I know it is not a creative streak to re-hatch what you already know, but sometimes we are not aware of how much an idea or design can be perfect, when pared with a new challenge. Consider 'this' a new challenge and try to incorporate into your daily beading travels.

BEAD Magazine and Bead Looming

I am very proud to announce my bead looming will be included in the Feb/Mar 2012, Issue #36 of 'BEAD Magazine', published out of England. Notice that one of my cuffs made the cover!

This Issue is has an Asian Theme and chock full of projects from paper beads to bead looming! I am so excited to see bead looming get a bit more exposure than it seems to get. I also love working along with the Editor and people of BEAD.

Be sure to consider buying a copy of this Issue, or future Issues. I am sharing patterns for the first time, in a public venue. Other issues will also include some bead looming patterns and techniques, I do not share anywhere else.

My bead looming will be exclusive to this Magazine. So if you feel you want to learn more, than consider BEAD! We are also discussing some other fun projects, you may have seen on my Blog or Website!
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NOTE: Since this post about BEAD, I have been asked of its availability. Here is some info I know:

BEAD WRITES: We have a US office too if you have any inquiries - Ashdown.Inc or www.hobbyworld.tv

DORRIE WROTE: I get the i-mag subscription. I have gotten it for 3 years now and love it! It would be nice to have the printed, but I read through it online and then I print off what I want to make. I highly recommend this Bead mag. I think you can get printed to the US, but not sure.

BEAD WRITES: You can - it should be available in some larger Barnes and Noble, some bead stores, but you can also subscribe to it and get it delivered, but it will arrive quite a bit later than it does for UK subscribers.

Gerber Daisy Between the Lines

This cuff is complete. The name "Gerber Daisy Between the Lines" refers to the Tex 400 cords, (lines of color), I included.

When I last posted, I was starting to consider the fringe idea. Here is a picture of how I attached the fringe.


Keeping each strand wide apart from another, allowed the Tex 400 Warp Cords to show through.



The glass leaves are green greasy and include a gun metal bead. I made the clasp, with a butterfly accent.

With so much else going on, in this cuff, I only used the decorative clasp on one side, as opposed to adding two.


These green spiral beads are custom made lampwork. All of the findings are gunmetal.

Simply Edge while making clasp

Many design ideas tend to come together, while loom weaving. Sometimes, I even feel that my new idea is so good, I want my fingers to move faster. Then, I can finish what I am working on to start the new idea, before I forget it! Thus is a good reason to have a journal by you, while beading. So much is learned as you bead. The time it takes to create with seed beads, the more time you have to conjure up wonderful plans, for the next creation.

You may recall one of my recent cuffs, using C-Lon Tex 400 for the warps. I wove it 'row-by-row'. It was also the cuff being woven when I came up with a new idea of how to create a custom clasp. Here is the clasp I attached to that cuff.

Now I want to follow up with another custom created clasp,
for this 'Gerber Daisy Cuff'.
I will use gunmetal for all the findings, in this cuff. Gunmetal finishes will match perfectly.
There are some wild, fun, bright colors in this pattern, not to mention the extension of each petal and the over hang of my 'symbolic leaf design', so a simple edge would be best. The matte black is also a perfect color to extend, for this edge.

My personal favorite edging is a simple, single line of turned beads. I started using this idea on my weavings years ago. I call it just that, a ©Simple Turned Bead Edge.

To complete this edge, you will be running your needle in and out of the last few rows of the woven edge. Usually, I am looking to not create a bulk of thread, turning my thread in and out of the same beads. This design, using the thick warp threads, don't make a difference. I'll be turning my thread through the same two beads, every pass because the line of thick thread will hide all of extra passes of thread. For a further design aspect, consider adding an 11/0 seed bead, every turn-up.


Many are already completed, but let me begin with how to do this ©Simple Turned Bead Edging. Above you see I attached a 11/0 matte black 'seed bead' (not Delicas, for this type of edging).

Below, I added another 11/0 matte black seed bead, but turned my needle back into the same row I just exited. Notice how I will be falling in and out of each bead more than once. It is the turn back out, that I mentioned above, where the thread could become too thick, turning at the same woven beads. The thick Tex 400 warp will help it not be a problem, but remember to keep this in mind, when weaving, with thinner warps.


Shown below, I am exiting to the right again. In essence, you will be looping your thread around sets of woven beads,  two hear, adding a single 11/0 seed bead with every pass, along the top edge.


Once you reach the end of the cuff edge, or are butt against the extended design, turn your needle and thread back through every bead you just added. This will not only secure them on the edge, but will eliminate them from falling forward and backward from each other bead, while being worn.


To complete the other side of the petal extensions, I attached a new thread, completing the same steps I outlined above.


Looking at this closely, I decided not to edge the side where I warped with C-Lon Tex 400, in green. Personally, I never leave a bead open along an edge, a pet peeve of mine, but the thickness of the Tex 400 carries enough weight to fill that gap, covering the entire thickness of the woven Delicas.

Knowing earlier I wasn't edging 'both' sides of the cuff edge, I completed the 'symbolic leaf design'. Otherwise, I would have edged, then added the leaf design. Since edging is a fixed step, in all of my woven creations, I think ahead as far as I can to realize what step is best completed first, an extended design or the edging.


Next, I will complete the fringe idea, but right now, I am still looking over my stash of beads to pick what I think will work best :)

Adding a free form leaf design

In the large black area, I continued to loom below the Gerber Daisy head, I will add a 'free form' symbolic leaf. This leaf will hold the fringes I am adding. But first, let me share how I added this design aspect.


In the picture above, you can see how I first strung 11/0 Japanese Seed beads on to a line of 12 lb Wildfire thread, in green. The strung section was roughly attached to my looming using the bead stops.

A new piece of thread, 10 lb green Wildfire, was threaded and followed inside the same pre-strung beads to attach the entire leaf section. A bead was added, during my second pass with the 10 lb Wildfire, to make the turn or a point of the leaf.


The thickness of the two threads helped to keep the green bead
shaped into the leaf design.

Below you can see I am also adding more 11/0 seed beads to create a double line, which will also be holding the fringes I'll add. Fringes are usually hung from the very edge, but this time, I am planning to start the fringes in the center of the looming. These beads will be that starting point.


Notice in both pictures, up and below, how I am using the 'warp' threads to secure all of my 3D accents. This is not only more secure, but I will not break any beads, should I need to make many passes to complete. When finished, you won't see any threads on the back of the loomed cuff base.


This is as far as I will add an accent. The fringes will be spaced wide apart, when attached, so you will still be able to see the Tex 400 cords used for warping.

Usually, I bead edge every cuff, but this time, I am only going to bead edge one side of this cuff. The edge, where the leaf design extends, will not be edged with beads. The C-Lon Tex 400 Cord, warped on that outer edge, is sufficient to create a finished edge. If I were adding a bead edge, I would have added it before I created the symbolic leaf design.