Streetscape-Barcelona Bracelet Instructor: Warren Feld ...Park Guell Palette (Red Gold and Blue Amethyst) Intermediate Level BW2-13-STRBARC: ParkGuell Become one with the romantic

Copyright © 2015 by Warren Feld, LearnToBead.net.

This handout is available for purchase at www.LearnToBead.net or www.LandOfOdds.com, or www.bedazzledbeads.com, and is intended for personal use only.

Reproduction of this handout by or for any persons other than personal use is strictly prohibited. Kits, Supplies, Tools available for purchase at www.LandOfOdds.com, www.BeDazzledBeads.com, or www.LearnToBead.net .

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Streetscape-Barcelona Bracelet with Warren Feld

A LearnToBead.Net Class

www.LandOfOdds.com, www.LearnToBead.net

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Streetscape-Barcelona Bracelet Instructor: Warren Feld Park Guell Palette (Red Gold and Blue Amethyst) Intermediate Level BW2-13-STRBARC: ParkGuell

Become one with the romantic ceramic tilework lining the sidewalks and streets of Barcelona. Gaudi’s vivid, undulating designs are mimicked with circular peyote, right angle weave and segments of Petersburg Chain.

This set of instructions is organized as a series of Jewelry Design Choices:

http://www.learntobead.net/

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http://www.bedazzledbeads.com/









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SUPPLIES LIST, p. 4

I. Planning Your Project, p. 6

Intro – Types of Choices To Be Made In This Project, p. 6

ABOUT PETERSBURG CHAIN, p. 7

COLOR AND PATTERN, p. 7

MANAGING SUPPORT SYSTEMS AND OTHER ARCHITECTURAL ISSUES, p. 8

Conceptualizing, p. 9

IA. Conceptualizing Your Piece, p. 9

IB. Measurement, p. 12

IC. Selecting Materials, p. 13

ID. Sketching a pattern or graph, p. 13

IE. Identifying Potential Areas of Weakness, p. 14

IF. Identifying How To Attach The Clasp, p. 14

IG. Visualizing Your Process, p. 14

IH. Organizing Your Work Space, p. 15

II. Beginning Your Project, p. 16

IIA. Basic Steps, p. 16

IIA-1. CREATE THE SIDEWALK (Streetscape Skeletal Framework), p. 17 IIA-2. ADD THE FLUTTER, p. 39 IIA-3. ATTACH THE CLASP, p. 55

IIB. Dealing with Contingencies, p. 61

IIC. Finishing Touches, p. 62

III. Summary of Learning Objectives You Have Met After Accomplishing This Project, p. 63

IV. Next Steps, p. 67

IVA. Suggested Readings, p. 67












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What You Will Learn: - Adapting the Petersburg Chain Stitch in a non-traditional way - Manipulating "shape" and "dimension" in design, through modifications in applying the Petersburg Chain Stitch and the Right Angle Weave Stitch. - Adding sense of "movement" to piece - Mixing 2-hole and 1-hole beads within same piece - Attaching a clasp assembly

Prerequisites: - Orientation To Beads & Jewelry Findings - Experience with right angle weave stitch - Good working knowledge of Petersburg Chain Stitch - Experience with bead weaving and managing thread tension

TimeFrame: This bracelet takes about 10-12 hours to complete

These Instructions are written from what is called The Design Perspective.

They first guide you through the kinds of choices to be made, when designing this particular piece. This gives you a sense of how the artist thought through the development of the project. This provides you with a better understanding and some insights about what kinds of things you would need to consider, when designing a similar piece, or adding personal touches to this project.

Then step-by-step, easy-to-follow instructions for completing this project are presented.

Finally, the skills learned by doing this project are summarized.

In this project, I was most interested in exploring how to use the Petersburg Chain stitch in a non-traditional way.












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Supplies To Make a 6 ½ - 7" Bracelet:

Kit and Supplies available for purchase from: Land of Odds (www.landofodds.com ) Be Dazzled Beads (www.bedazzledbeads.com) LearnToBead.net (www.learntobead.net )

[Additional beads included with kit to make up to an 8 1/2" bracelet.]

GENERIC ITEM DESCRIPTION THIS PROJECT Palette #3. Park Guell (Red Gold and Blue Amethyst)

YOUR PROJECT VARIATIONS

COLOR A: 2-hole Czechmate brick, (46 beads)

COLOR A: 2-hole Czechmate brick, bronze luster iris/opaque red (60 beads in Kit)

COLOR B: 8/0 seed bead, (100 beads)

COLOR B: 8/0 seed bead, TOHO T08-1204, marbled opaque light blue/amethyst (4 grams - 120 beads in Kit)

COLOR C: 11/0 seed bead, (400 beads) Same or similar color as COLOR B.

COLOR C: 11/0 seed bead, TOHO T11-1204, marbled opaque light blue/amethyst (5 grams - 480 beads in Kit)

COLOR D: 15/0 seed bead, (350 beads) Same or similar color as COLOR B.

COLOR D: 15/0 seed bead, Myuki 15-525, purple ceylon (2 grams - 420 beads in Kit)

COLOR E: 4mm Swarovski Series 5328 bicone, (30 beads)

COLOR E: 4mm Swarovski Series 5328 bicone, lime AB (40 beads in Kit)

COLOR F: 3mm Swarovski Series 5328 bicone, (24 beads)

COLOR F: 3mm Swarovski Series 5328 bicone, purple velvet (32 beads in KIt)

Toggle clasp, (1 clasp)

Toggle clasp, antique silver finish, (1 clasp in Kit)












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Chain, 2", (fine cable w/2.5 - 3mm ID Links) (2")

Chain, 2", (fine cable w/2.5 - 3mm ID Links), antique silver finish, (2" in Kit)

Jump Ring (same finish as Toggle clasp), approximately 4mm O.D., 20- or 18-gauge (1 ring)

Jump Ring, nickel-plated, approximately 4mm O.D., 20- or 18-gauge (1 ring)

Fireline, 6# strength, .008", smoke grey, (50 yd spool)

Fireline, 6# strength, .008", smoke grey, (50 yd spool) (1 spool in Kit)

Size #12 English beading needles

Size #12 English beading needles (4 needles in Kit)

(not included with kit)

Bees Wax or Microcrystalline Wax Bead Reamer Scissors Ruler Chain nose pliers Flush cutters or side cutter Sizing Cone Bic lighter or thread zapper Size #13 English Beading Needle Work Surface Sufficient Lighting, if needed Seating Pad, if needed












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STREETSCAPE BARCELONA BRACELET

I. Planning Your Project

Thinking About The Types of Choices To Be Made

I spent a few weeks in Barcelona, Spain, and marveled at the tile work that lined every inch of every sidewalk and many square feet of many streets. Most of it was created by Antonio Gaudi. The designs are very alive – spirals, curly cues, frenetic lines. And the streets of Barcelona are alive with people everywhere. The sun is warm, the colors both vibrant and muted – the city has a fun feel to it. And this was my inspiration. Coupled with this intensive emotional sensibility was my desire to try out using the Petersburg Chain stitch in a nontraditional way. I wanted to use segments of chain in a lacy or filigree sense. I liked the juxtaposition of “lacy”, fluttering Petersburg Chain stitch with the harder, more defined circular peyote and right angle weave of my brick streetscape walkway. I did not have a sketch first. Instead, I let “trial-and-error” lead my stitching paths. But once I hit on the general design, I found I had to do a lot of tweaking. I always try to build in contemporary design principles into my pieces, which include adding movement and dimensionality to my pieces. The main task here was to determine how to connect the Petersburg Chain areas to each other and to the Streetscape skeletal structure. You will find that my solutions involved some zig-zagged thread paths, and some resolutions of directional flows.












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My test piece was in black and white. As I re-did the piece and brought in color, I found I had another series of design issues to reconcile. The piece uses a 4-color palette. This will probably be the last piece I ever do with 4 colors. Very difficult to pick 4 colors, given the imperfect availability of bead colors. ABOUT PETERSBURG CHAIN The St. Petersburg Chain stitch is a relatively simple stitch that generates a long, thin, flat length of beadwork. Traditionally, two lengths are created and connected together up and down the inside edges with a decorative bead.

Traditional Petersburg Chain Stitch Bracelet The result is very soft, feminine and airy. The St. Petersburg Chain is rarely combined with other stitches, or used in other ways besides creating these strips of beadwork. COLOR AND PATTERN The thread path of the St. Petersburg Chain stitch creates a recognizable and appealing pattern and texture. I wanted to use small segments, and combine them to form lacey or filigree types of patterns, as well as incorporate these Petersburg segments with one or more other stitches, in this case, with a stitch approximating circular peyote and with right angle weave. This project uses a 4-color scheme. In a 4-color scheme, one color has to predominate. The other three colors usually work best when they are analogous or closely analogous to each other. That means they inhabit the same section of the color wheel. While this was not intentional, as I showed my piece around to students and colleagues, they say a “butterfly” appear in the pattern created by the Petersburg Chain segments. It became clear that this “Gestalt” was important to the appealing nature of the piece. If I used transparent or transparent AB beads in the Petersburg chain, the “Gestalt/butterfly” disappeared. What you see are horizontal stripes moving left to right across the piece. If the beads are opaque or color-lined, the “butterfly” shape becomes apparent.












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Beads do not come in all colors. It was very difficult to find the same color with the required finish in 15/0, 11/0 and 8/0s, and which also coordinated with the colors and tones of the Checkmate brick beads and Austrian crystal beads.

MANAGING SUPPORT SYSTEMS AND OTHER ARCHITECTURAL ISSUES Whenever you create a piece of jewelry, it is important to try to anticipate how your choice of techniques and materials might positively or negatively affect how the piece moves and feels when worn, as well as your piece’s overall durability.

Towards this end, it is important to redefine your techniques and materials in architectural terms. The important term or concept we think about when we begin our piece is called a “Support System”. A support system is anything that gives your piece “jointedness”, that is, allows the piece to move easily when worn, and allows the piece to adapt to the negative forces any movement places on your piece, making your piece feel more comfortable to wear and more durable.

The crux of support or architectural structure in the Petersburg chain lies in a “box joint”. The Petersburg chain stitch is a very, very loose stitch. This box joint creates the structural support for the strip of stitching to retain its shape, while adjusting to the forces of movement, drape and flow. Architecturally, however loose the stitching is for the rest of the Petersburg chain, we always want to tighten up our 4-bead box joint which connects each row.

The right angle weave stitch functions architecturally like a coil mattress. We want each 4-bead-unit or 3-bead-unit in our piece to bead tightly joined within the unit, so that all beads in that unit function as “one”. And we want the connections between right angle weave units to be attached a little more loosely, so that each RAW unit can function slightly, but not totally, independently from all other RAW units, in response to the forces of movement, drape and flow.

Architecturally, circular peyote functions like a hinged doorway. We expect the beads within any ring to move in one direction as if hinged.

The Petersburg chain segments are meant to pull up and flutter a bit. This is achieved by changing and adapting some of the Petersburg, Circular Peyote and Right Angle Weave thread paths from the traditional ways each is done.












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IA. Conceptualizing Your Piece

Purpose? Why would the customer want to own this piece? When would the piece be worn? How often? What is the Context/Setting the bracelet might be worn in?

This is a casual piece to be worn by a woman. It is meant to be worn a little bit loosely, to allow more movement as worn.

Sizing? Is this to be for a Woman (6 ½ - 7 ½”) or man (7 ½ - 8 ½”)? Size of wrist? How loosely should it fit -- very loose, somewhat loose, tight? How will the sizes of my beads impact the final sizing of the bracelet, when worn around the wrist?

This piece is for a women, with a wrist size of 6 – 8”. It is meant to be worn somewhat loosely. The linear core of the bracelet is made up of Czechmate 2-hole brick beads. Depending on the finish on these beads, their sizes can vary dramatically, and result in a bracelets varying in length by as much as 1 ½”. There, I have made the clasp assembly adjustable in size, up to 2”.

Materials? What types, shapes and materials of beads do I want to use? What size and styles of beads do I want to use – glass, crystal, metal, cubes, rounds, seed beads, delicas? What kinds of stringing materials do I want to use, and do I need to do anything additional to prepare the stringing material before using it? What size or thickness of stringing material do I want to use? What type of clasp? Adjustable?

I used a mix of 1-hole and 2-hole glass seed beads, as well as 4mm and 3mm Austrian crystal beads. The mix of styles, sizes and shapes adds interest to the piece.

I used Fireline (a cable thread), .008”, 6# strength as my stringing material. I waxed the Fireline using microcrystalline wax (synthetic bees wax). The Petersburg Chain and Right Angle Weave stitches are particularly loose. The circular peyote, using the brick and seed bead shapes, can also be very loose. The Fireline has a kink-quality to it, that helps keep the thread tension tighter. The waxed Fireline also helps keep the thread tension tighter.












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I used a premade clasp. I find the toggle clasp to be easy to use, and visually to fit with the design. Because the actual bead sizes vary so much from what they are labeled, I added a length of chain on one end, so that the bracelet size could be adjustable.

Color/Texture/Pattern/Size/Shape Issues? Are there any thread color issues, such as coordinating thread color with bead color? What colors do I want to use? Glass bead colors? Crystal bead colors? Do I want to use the same bead throughout, or do I want to create a pattern? Should each color have the same or similar finishes, or not? Which color should predominate, and where should this color be placed?

With these stitches, the thread will show. Therefore, I wanted to use a thread color that would easily blend or recede as a shadow.

The piece calls for a 4-color palette, where one color should predominate, and the other three colors should be analogous or somewhat analogous on the color wheel. The color used for the Petersburg Chain segments should predominate.

Because the “gestalt/butterfly” effect adds so much to an appreciation of the piece, it is important to use beads that are opaque or appear opaque, like most color lined beads.

Implementing the Basic Technique? Which stitch or technique is best? How well can I maintain the consistency of tension? Do I need to modify the stitch path/technique in any way to achieve a better outcome? I am using several bead weaving techniques in this piece – St Petersburg Chain, Circular Peyote, Right Angle Weave. What kinds of coordination and combination issues might arise?

One of the overriding goals of this piece was to test out how to use St. Petersburg Chain in a nontraditional way.

Maintaining a good thread tension is hugely helped by using .008” Fireline cable thread, and waxing it.

The stitch patterns are modified throughout to achieve a more 3 dimensional effect, and better movement. The three stitches used in the piece can easily be worked off of each other, however, without any traditional stitch path modifications.












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Other Design Issues? Are there side up, side down issues? How sharp are the holes of my beads, and do I need to do anything special for anything with especially sharp holes? Are there any directional issues? What will the clasp assembly look like, and where and how will I attach the clasp? Do I want to use a manufactured clasp, or make my own? Do I want to design my clasp assembly to allow my piece to be adjustable in length? Do I need to build in support systems, such as links, loops or rings, to allow for better "ease" and movement? Are there design considerations associated with getting a “shape” to maintain its “shape”? What strategies will I use to add dimensionality to my piece?

When working with 2-hole beads, it is important to remember which hole is “up/top” and which is “down/bottom”. As you work your project, sometimes, you need to shift the direction of the 2-hole bead so that what was the “top” becomes the “bottom”, when completing the next step.

Austrian crystal beads have especially sharp holes. It is important to try to pass through each crystal bead at least 3 times.

There are two directional issues: (1) Each Petersburg Chain segment consists of either 3 or 4 rows. The last row in each segment is a short row. The short row needs to be facing furthest in distance from the Sunburst in the Streetscape. (2) You will find at several points in the instructions that the thread needs to be exiting in a certain direction relative to the Streetscape skeletal framework, either pointing towards or pointing away from it. Pay close attention.

I used a manufactured clasp. I added a short length of chain to the clasp assembly to allow the bracelet length to be adjustable.

To get the most support – that is control over how the beads and the bracelet adjust to the forces of movement – it is important that the box joint of the Petersburg Chain have very tight tension, and that the 3- or 4- beads within any right angle weave unit be very tightly joined together, but that the thread path connecting any two raw units be a bit looser.

I varied the thread path in many places to get more dimensionality within the piece.

Wearability? How easily will the project, once finished, conform to and feel comfortable on the wrist? How easy is it to open and close the clasp?

This bracelet drapes and moves very well, and will feel very comfortable on the wrist.












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The toggle clasp is easy to get on and off. It is important, however, to make sure that the bar is positioned in such a way, that the thickness of the bar and the thickness of the chain, can pass through the ring far enough, so that it can sit back onto the ring as if onto a saddle.

IB. Measurements

MEASUREMENTS

DESCRIPTION THIS PROJECT

YOUR PROJECT VARIATIONS

Length of beadwork without clasp attached

6 ½"

Fits this wrist size, when worn with clasp

6 ½ - 8”

Length Clasp Adds when worn

1/2”

Adjustable Length extender chain adds

1 ½" – 2”

Linear length with clasp when not worn

6 ¾"

Width Apprx 1 ¼”

Pattern? YES/NO Yes

Into organized segments? YES/NO

Yes

If segmented, length of typical segment

1 ½”

If segmented, number of segments visible on the wrist at any one time, when piece is worn.

2

Definable center point? YES/NO

No

Ask yourself these questions: Given how loosely or tightly I want the bracelet to be, and the size of the beads I am using, what length (and width) bracelet do I want to end up with, as measured on a sizing cone or around a person's wrist? Will I need to use smaller beads, and of what size, near either end of the bracelet, so that the wearer can easily maneuver the clasp to get it on and off? When worn on the wrist, how much of this pattern (or how many of my segments) will be showing to the viewer? How much more length will the clasp add to my piece?












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The Streetscape Barcelona bracelet is meant to fit a 6 ½” to 7” wrist. Because the Czechmate 2-hole brick beads used vary widely in size, depending on their finish, I have made the clasp assembly adjustable.

NOTE: There are 25mm in an inch. Rulers are marked in inches on one side and millimeters on the other.

IC. Selecting Materials

Ask yourself these questions: Types of beads? Glass, crystal, gemstone, precious metal, base metal, other? Sizes of beads? 4mm, 6mm, 8mm, 10mm, smaller, larger? Shapes of beads? round, rondelle, cube, oval, tube, other? Directional issues with beads? Finish on one side? Pattern weighted to one side? Shape weighted to one side? Points in a direction? Two sides pointing in opposite directions leading to a center piece? Unidirectional? Stringing material? beading thread, cable thread, cable wire, other? Clasp? Make my own or use a manufactured clasp? Material? Size? Ease of Use? Durable? Adjustable? Appropriate given my bracelet's design?

In this project, I used a mix of glass seed beads, Austrian Crystal beads, and Czechmate 2-hole brick beads. The 2-hole beads created some directional issues related to which hole was considered “top” and which “bottom”. The piece was strung on Fireline cable thread. The pieces uses a manufactured toggle clasp.

ID. Creating a Key and Sketching a Pattern , Diagram or Graph

When beginning any beading or jewelry project, it is usually very important to translate your creative thoughts and visualizations into diagrams and sketches.

This project, however, was trial and error from the get-go.

After settling on a design, I created patterns for each step, as seen in the instructions below.












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IE. Identifying Potential Areas of Weakness within Your Piece

Identify potential points of weakness within your piece. These are areas within your piece that you will want to add some extra reinforcement or extra support and jointedness.

In our project, we have two concerns.

1. Austrian crystal beads have very sharp holes, and can easily cut the thread. I used Fireline rather than regular beading thread, and made sure to go through each bead hole at least 3 times.

2. At the point the clasp is attached to the beadwork. At each end of the bracelet, I created a ladder-stitched anchor, and securely connect each anchor to the bracelet itself. These anchors should be able to absorb the forces of movement, drape and flow without placing undue stress on the bracelet.

IF. Identifying how you want to secure the clasp

At each end of the bracelet, I created a ladder-stitched anchor, and securely connect each anchor to the bracelet itself. These anchors should be able to absorb the forces of movement, drape and flow without placing undue stress on the bracelet.

IG. Visualizing Your Process

Holding the piece. I work the piece over my fore-finger. Thus, my finger becomes like a little easel. I use my thumb as a clamp to hold the developing beadwork in place. I am right-handed, so use my left hand and fore-finger as my easel, and work the needle and thread with my right hand. I clamp my thumb over the existing beadwork just below where I want the next bead to sit. I hold the beadwork tight, and pull the new bead into the existing beadwork. I make sure the bead is sitting correctly in place before picking up the next bead.












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Do you want to work from one end to the other, or complete the piece in stages, or create a series of components, and then attach them together?

There are 3 stages in making this piece: 1. Creating the Streetscape Skeletal Framework 2. Adding the Petersburg Chain Flutter 3. Adding the Clasp Assembly

Set your mantra going. Organize the “flow” of your work in your mind. Create a pattern and rhythm in your head, utilizing such things as shapes, sizes, and colors, and noting where thread goes in and where thread comes out, and whether you are working clock-wise, counter-clockwise or in a figure 8 motion.

IG. Organizing Your Work Space

Get your beads, stringing materials, tools, cutters, ruler, sizing cone, bead board, work surface, handy pen and paper, and the like, altogether in one place.

I take the beads I am using for the Streetscape Skeletal Framework out, and before I move to the next stage – Adding the Flutter – I put the beads I am not using in the second stage away. And so forth. Make sure there is no confusion among the 15/0, 11/0 and 8/0 seed beads.












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II. BEGINNING YOUR PROJECT

IIA. Basic Steps

IIA-1. CREATE THE SIDEWALK (Streetscape Skeletal Framework), p. 17 IIA-2. ADD THE FLUTTER, p. 39 IIA-3. ATTACH THE CLASP, p. 55












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IIA-1. CREATE THE SIDEWALK (Streetscape Skeletal Framework)

1A. Get started. Begin a “half sunburst”.

Begin with 7’-8’ of Fireline, Size D. Wax the cable thread. Use a size #10 or size #12 needle.

Pick up 1A (Brick, bottom hole) and 1C (11/0). Pull thread through, leaving 3-4” tail. Make turn-around, coming back through A. [Thus, our 1C (11/0) acts as a “stop bead”.]

Tie double knot with tail and working thread.

1B. Begin a Half Sunburst

Pick up 1D (15/0), 1A (brick bottom hole), 1D, 1A/bottom hole, 1D, 1A/bottom hole), and 1C (11/0).

[So, we have 4 bricks in our configuration so far.]












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1C.

a. Make a turnaround, passing through the 1A/bottom hole.

NOTE: Pull tight on thread, to keep all the beads tightly abutted.

Move up to A/top hole, and pass through.

b. Pick up 1C, turnaround, and pass back through A/top hole.












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1D.

a. Add 3A to “sunburst”.

Pick up 1D, 1A/bottom hole, 1D. Pass through the next existing A/top hole.

b. Repeat 2 more times.












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1E. Finish off “Half Sunburst”.

a. Pick up 1C, turnaround, passing back through A/top hole.

b. Continue up through 1D, 1A/bottom, 1D, 1A/top, 1D, 1A/bottom

c. Move up to and through this A/top.

Trim or burn off your original tail.

You are now existing the top hole of the center and top most brick (A).












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1F. Add 8/0 “Stop Beads” on either side of Brick.

Pick up 1B (8/0). Make a turnaround, passing through A/top hole. Pick up another 1B. Turnaround again, exiting between the brick and the first 1B.












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1G.

a. Pick up 1A/bottom, 3C (11/0).

Return through the A/top.

b. Circle around through previous A/top, new A/bottom.

c. Continue passing through first 2C.

NOTE: Do not pass through any 8/0 seed beads (B).












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1H. Begin 3-RAW-Unit Bar. Create first RAW unit.

a. Pick up:

1E (4mm bicone), 1C (11/0), 1E, 1C, 1E, 1C, 1E

Return through the first C where you began.

Make one more reinforcing circle, all the way around, exiting this same C.

b. Pull tight.

Continue up through the next E and C, to position yourself for the next step.












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1I. Create 2nd RAW Unit in Bar.

a. We are going to add 2 more RAW units. Each of these additional units will have only 3E, instead of 4E, as in our first and center RAW Unit.

Pick up: 1E, 1C, 1E, 1C, 1E

Return through the C where you started.

Make a reinforcing circle, exiting the C again where you started.

b. Reposition to make the 3rd RAW unit.

Pass through the next E (Unit 1), then the C, the next E and next C.












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1J. Make the 3rd RAW Unit in our bar.

a. Pick up: 1E, 1C, 1E, 1C, 1E.

Return through the next C where you started.

Make a reinforcing circle.

b. Reposition for the next step.

Circle around the center RAW Unit (Unit 1), exiting the top C.












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1K.

a. Pick up 1C, 1A/bottom.

Pass back through this A/top.

b. Pick up 1C, and circle around, thru 2C, A/bottom, A/top, and 2C, thus returning through this starting C.

Continue to make a reinforcing circle, thru 1C and A/bottom, exiting the A/bottom.












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1L.

a. Pick up 1A/bottom, and pass through to the other side.

Pick up 1B (8/0), turnaround, pass through A/bottom.

Tighten to bring new brick (A) down to previous brick (A).

Pick up 1B, turnaround, pass through A/bottom, but not through B.

Keep thread tension tight.

Circle through previous A/top, through 3C, back through previous A/bottom, through new A/bottom, but again, not through B.

b. Reposition for next step, by passing through new A/top.












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1M. Begin “Full Sunburst”.

a. Add 11A Bricks and 12D (15/0) to create a “Full Sunburst”.

NOTE: What will be considered the Brick “bottom hole” and “top hole” will end up alternating, as we move through steps M and N.

Pick up 1D, 1A, 1D, 1A, etc for a total of 11A and 12D, ending with a D bead.

Return through the starting A/top.

b. Make a reinforcing circle all the way around, exiting at the same place you started.

Pull tight on the thread.

Pass through the next D (15/0).












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c. Reposition for the next step.

Move up to and through the next A/top hole.












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1N. Create the Inner Circle of our Sunburst

a. Pick up 1D (15/0), pass over the next D, A, D, and go through the top hole of the next A (Brick).

b. Continue this pattern all the way around.

NOTE: You are in effect creating an “inner ring”.

Make a reinforcing circle all the way around this inner ring, exiting where you started.












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c. Reposition thread for next step.

Maneuver so that you are exiting the top hole of the top-most brick.

1O.

Pick up 1B (8/0), turnaround, passing through A/top.

Pick up another 8/0, turnaround, pass through A/top.

NOTE: DO NOT return through the 1st B (8/0).












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1P.

a. Pick up 1A/bottom, 3C (11/0)

b. Return through A/top. Pass through previous A/top.

c. Make reinforcing circle, exiting 2nd C (11/0).












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1Q. Add RAW Bar

Add 3 more RAW units, following Steps H, I, and J.












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1R. Next Sunburst.

Repeat Steps:

- K, L, M, N, O, P, Q - Then, F, G - Then H, I, J - Then K, L

NOTE: Depending on which side of sunburst you are on, A/bottom might change to A/top. “Previous” and “Next” A might change.












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1S. Create “Half Sunburst”, First Leg.

a. Position thread to come out top hole of current brick.

Pick up 1D, 1A, 1D, 1A, 1D, 1A, and 1C (11/0).

Turnaround, and come back through last A same hole.

Pull tight.

b. Move to other hole of current brick.

Re-orient brick so that the “bottom hole” is now the “top hole”, and the thread is exiting what we now will call the “bottom hole”.

Pass through “now bottom” hole, pick up 1C, turnaround, and come back through this same hole.

Pull tight.












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c. Re-orient the 3rd A from the bottom, so that the “top” hole is now the “bottom” hole.

You are exiting the 1st A/bottom.

Pick up 1D, skip over 1D, 1A, 1D, and pass through the next A/now-bottom.

1T. Finish Half Sunburst, 2nd Leg

a. Move up to the other end of the brick.

Pass through the 15/0 and brick/bottom hole.












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b. Pick up 1D, 1A, 1D, 1A, 1D, 1A, and 1C (11/0).

Turnaround, and come back through the last brick hole.

Pull tight.

c. Pick up 1C, turnaround, and come back through this hole.

Pull tight.

Re-orient this 1st Brick so that “bottom” hole is now the “top” hole.












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d. Re-orient the 3rd A from the bottom, so that the “top” hole is now the “bottom” hole.

You are exiting the 1st A/bottom.

Pick up 1D, skip over 1D, 1A, 1D, and through the next A.

e. Pick up 1D, skip over 1D, 1A (center point brick), 1D, and pass through the next brick.

NOTE: Now you are back in the first arm.

Continue to end of arm, exiting between brick and 11/0 at end.

Pull tight.

Snag thread loop between brick and 11/0, tie a double knot, come through the 11/0, back up through the brick, and at least the next 15/0.

Trim the thread.












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IIA-2. ADD THE FLUTTER

2A. Add The Flutter.

Start with 7’-8’ feet of Fireline. Wax. Use a Size #12 needle.

Anchor the thread. Maneuver to the first 8/0 (side of brick).

Trim tail.












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2B. Start Petersburg Chain segment with B (8/0) and C (11/0)

a. Pick up 6C (11/0). Push down to the 8/0 B.

We are going to assign a number to each bead, beginning with the first C abutting our 8/0 seed bead.

Call the first C “1P”, and continue, from this one to the last, labeling them “2P”, “3P”, “4P”, “5P”, and “6P”

b. Make a “2x2 BOX”.

Come back through 3P and 4P.

Tighten so that 3P, 4P sits on top of 6P and 5P.

Push all the beads down tightly against the B (8/0).

c. Pick up 1B.

Make a turnaround, and go back through 3C (4P, 3P, and 2P).

NOTE: The 8/0 serves as a “Stop” bead.












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d. Pick up 1B and drop down, passing through our two dropped C’s (6P and 5P).

Now we are positioned to add next Petersburg Chain segment.

ROW 1 is complete, and you have begun ROW 2.

2C. ROW 2

Pick up 4C, and follow rest of pattern in Step 2B.

ROW 2 is complete, and you have begun ROW 3.












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2D. ROW 3

Repeat Step 2C.

ROW 3 is complete, and you end with a partial ROW 4.

2E. Position Chain Fragment For Next Step

We have a directional requirement here.

Depending on how you have been working your Petersburg Chain, you may have to rotate the chain-segment around.

You want the unfinished Row (which here is Row 4 with only 2C in the row) to be positioned furthest from our Streetscape Skeleton.












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2F. Getting from Petersburg Row 4 to our 8/0 Bead abutting the Brick

Your thread is exiting the last 11/0 (C) in our partially completed Petersburg Chain Row 4.

We want to move down through Row 3, then Row 2, then Row 1, and through the 8/0 which Row 1 abuts, and through the hole of the Brick.

As you maneuver from Row to Row, you want to pull your thread snug, not tight.

So,

Drop down to Row 3, and go up through 2C.

Drop down to Row 2, and go up through 2C.

Drop down to Row 1, and go through all 4C.












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2G.

a. Continue through the 1B, 1A/top, and 1B.

Pull snug, not tight.

Execute a turnaround, to change thread path directions.

Return through 1A/top and 1 B.

b. Continue through all 4C in Petersburg Row 1, and the B (stop bead) at end of row.

Connect the Petersburg Chain segment to the Streetscape Skeleton.

Go through the up-brick in Sunburst.

Pick up 1D, and make a turnaround.

Come all the way back through the 8/0 and 4C, the next B, the A/top, and the next B.

Pull snug, not tight.

You are now positioned for Step 2H.












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2H.

REPEAT Steps 2B thru 2G.

Exit the outside hole of the brick between the brick and the 8/0 bead.

2I. Reposition to begin next Petersburg Chain segment, with C (11/0) and D (15/0)

Maneuver your thread so that you are exiting an 11/0 (C) between 2 E (4mm bicone) in either 2nd (or 3rd) Right Angle Weave Unit (as pictured).

Directional Issue. It is IMPORTANT! that your thread is exiting the C bead heading towards the skeleton.












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2J. Create Petersburg Chain segment with C (11/0) and D (15/0)

a. Pick up 6 D (15/0).

b. Make 2x2 BOX.

Keep thread tension tight and beads abutted against D.

c. Pick up 1C, and return through 3D.












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d. Pick up 1C, drop down, and pass back through 2D along bottom of our “box”

You have finished ROW 1, and begun ROW 2.

2K. Finish ROW 2 and begin ROW 3

Continue.

Pick up 4D, and follow rest of steps in Step 2J.

You are now exiting the last D in your partially completed ROW 3.












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2L. Reposition Petersburg Chain Segment to begin Step 2M.

We have a directional requirement here.

Depending on how you have been working your Petersburg Chain, you may have to rotate the chain-segment around.

You want the unfinished Row (which here is Row 3 with only 2D in the row) to be positioned furthest from our Streetscape Skeleton.

2M. Begin Connecting our C/D Petersburg Segment to our B/C Petersburg Segment

Your thread is exiting the last D in partial ROW 3.

Bring your thread through the C (stop bead) at end of ROW 2.












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2N. Attach C/D Petersburg Chain Segment to B/C Petersburg Chain Segment

Pick up 1F (3mm bicone)

Pass through the middle of 3 8/0 stop beads on the opposite B/C Petersburg Chain segment.

This 8/0 stop bead will be at the end of ROW 3.

NOTE: Pass through from outer side of B to inner side of B, towards Streetscape skeleton.

2O.

Continue, as if making a circle, to drop down and pass through the C (11/0) and B (8/0) in ROW 2.












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2P. Finish Off Connecting both Petersburg Chain segments

a. Pick up another 1F (3mm bicone).

Continue passing through the 11/0 stop bead, up inside the Petersburg ROW 1.

b. Continue to pass through 2 more 15/0s in ROW 1.












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c. Now we are going to circle back around.

Move over to ROW 2, and come back down 4D (15/), and the 1C (11/0 stop bead).

Pull thread tight to bring all the beads together.

d. Continue circling.

Pass through 1F, 1B, 1C, 1B, 1F, and back up through 1C, 4D, and the 1C in our RAW unit.












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2Q.

Maneuver around the RAW units, so that you are exiting the 11/0 on the other side where you will need to start your next Petersburg Chain (with C/D).

You want your thread to be exiting “towards” the Streetscape skeleton.

2R.

Repeat Steps 2J thru 2P.

2S.

Maneuver back up to the next brick with an 8/0 on either side, exiting one of the 8/0’s.












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2T.

Repeat Steps 2B thru 2H.

2U.

Repeat Steps 2I thru 2R.












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2V.

Maneuver up to the next brick, with 8/0 beads on either side, and duplicate our process.

[Or, you can finish off your old thread, and begin a new one at the place where you want to continue.]

Continue to the end of your bracelet.












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IIA-3. ATTACH THE CLASP

3A. Getting Started

Start a new thread, about 4-5’ long. Wax your thread. Anchor your thread, and come through a Brick and the inside 11/0 stop bead on the end.

3B. CLASP ANCHOR

We want to make a 4-bead, ladder-stitched circle (really a 1-bead stack column). We’ll call this the Clasp Anchor. The strength of this anchor derives from keeping all 4 beads in our column very tightly stitched and abutted together. a. To start, pick up 1A (brick) and 2B (8/0). Return through the new A/top, continuing through the inside C (11/0) on the end of the other leg, and Brick.












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Continue passing through the inner circle of beads, returning to exit our first 8/0 bead. REPEAT. Make another full reinforcing circle (around this inner circle), exiting our first 8/0 seed bead. Trim the tail. b. One more reinforcement. Pass through the other 8/0, the brick, the C and brick. Turnaround between this brick and the next D. Pass back through the brick, C, brick and the 8/0. Continue through the first 8/0, and through the brick, C and brick. Turnaround between this brick and the next D. Return through the brick, C, brick and the 8/0, exiting the 8/0.












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3C. Continue Creating Clasp Anchor

Pick up 1C (11/0), and ladder stitch to this first 8/0. Continue circling until you are exiting the bottom hole of the 11/0 bead. Come up through the 2nd 8/0 bead. You now have 3 beads – 8/0, 11/0 and 8/0 -- , side by side, with their holes facing the same direction.

3D.

You are exiting the top of the 2nd 8/0. Pick up another 11/0. Ladder stitch this to the 2nd 8/0, and continue circling around until you are exiting the bottom of this 11/0.












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3E. Finish the Clasp Anchor

a. Come up through the first 8/0 to complete the closing of our circle/column. Ladder Stitch this 2nd 11/0 to our 1st 8/0. Continuing circling until you are exiting the top of our 1st 8/0. You now have 4 beads in a circle (actually a 1-stack ladder stitched column). b. Ladder stitch one more time, all the way around the 4 beads, to reinforce. You want to be exiting the top hole of your first 8/0 bead.

3F. Reposition to make the Clasp Connecting Loop

Pass down through the first 11/0. Slide UNDERNEATH the 4-bead unit, to come up through the top of the 2nd 11/0. You are existing the top of the 2nd 11/0.












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3G.

NOTE: If your clasp has “top/front” and “bottom/back” sides, then determine which side of your bracelet you want to face up.

3H. Loop for Toggle Ring Side

Pick up 10D (15/0) plus clasp part. NOTE: If the loop on your clasp part will not slide over the 15/0 beads, then do 5 15/0s, the clasp part, and another 5 15/0s. Return down through the opposite 11/0 bead. Slide under our ladder-stitched column of beads, and up the opposite 11/0. Continue circling through our 10D and 11/0s, to make a reinforcing circle. You want to make at least 2 more reinforcing circles after this first one. NOTE: Make sure your loop is big enough to offer sufficient support, that is “jointedness”. Snag a thread loop. Tie a double knot. Weave through some beads. Trim your thread












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3I. Make loop to attach Chain

There is a wide variation in the actual sizes of our brick beads, depending on their finish/color. So, it was important to anticipate this, and make the bracelet easily adjustable in length. Here we attach a 2” length of chain, to which we will attach the bar of our toggle clasp. REPEAT Steps 3A through 3H, using the chain instead of the clasp part.

3J. Attach the Toggle Bar

Attach the toggle bar anywhere between 1st link and the end, using a jump ring. Test the clasp assembly, to make sure you can pull the toggle bar through the toggle ring far enough, to allow it sit cross-wise, as if the ring were a saddle. After you have attached the bar and are satisfied, with the functionality of the full clasp assembly, you may, if you wish, trim the length of the chain. OPTIONAL: Using a head pin and a small bead, make dangle, and attach to the end of the chain.












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Give It The Once Over...

Once your bracelet is done, look it over carefully.

Now is the time to get out your thread zapper or lighter. All of those tiny threads that peak out from between beads will scream sloppy! Zap them all! Or, bring the flame on your lighter close to, but not touching, the threads, so that they shrivel and ball up.

IIB. Dealing with Contingencies

1. Running out of thread – Adding Thread -- Finishing Off The End Of Your Thread

When it looks like there is about 12” of thread left, I start to plan to tie it off and begin another thread, if I am not at the end of my project.

To tie off the old thread, I snag a thread-loop (that is, the thread bridge between any two beads), tie an overhand knot, zig-zag through a few rows of beads, snag another thread-loop and tie another knot, zig-zag through a few more rows, and trim the tail of the thread. To add a new thread, I start back a few rows. I go through 2-3 beads, then snag a thread-loop, tie a knot while leaving a 6-8” tail, and zig-zag up to where I want the thread to come out, and continue where I left off.

When I am finished with the project, I put a needle on the tail, and zigzag it through some rows of beads, before cutting off the tail.

NEVER cut the thread at the point you have tied a knot.

2. Some areas of your piece feel too loose, or are pulling apart I snag a thread-loop and tie off a new thread a few rows below where the problem is. I zig-zag my way up to the problem area, and reinforce it, by weaving around and around and in and out, and across and back. The more you fill the hole with thread, the tighter the piece will feel.












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3. Your piece is too short or too long

The adjustable clasp should solve this problem for you.

4. Can’t Get Your Needle Through The Bead

You will be passing through many of the beads many times. With seed beads – particularly the brick beads we are using – the hole sizes may be inconsistent. You may be in position to pass through a bead hole again, but can’t get that needle through.

Some options: a. Swtich to size 13 needle b. Use a chain nose pliers to gently pull or push the needle through the bead c. End your thread, and start a new thread at point you want to continue d. Change your thread path, and make a turnaround to reposition your thread correctly e. At some points in the piece, particularly where one brick connects to another, you may be able to brick stitch your way forward, which means you would snag a thread loop between beads, rather than passing through the hole of the bead.

IIC. Finishing Touches

IIC1. Signature bead or embellishment

I think it is always a good idea to use a signature bead in your projects. This might be a unique bead added near the beginning or end of the piece, or incorporated within each link, or an engraved tag or special little charm added as part of the clasp assembly. You want your signature bead to identify the piece as your own, but you don’t want your signature bead to compete with or detract from your piece.

The general structure of this STREETSCAPE-BARCELONA BRACELET was created by Warren Feld. Any personalization you might do – choice of beads, choice of clasp and clasp assembly, choice of patterns, choice of stringing material, choice of color scheme, choice of embellishments – are your own touches, and deserve your signature.












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III. Learning Objectives Met After Accomplishing This Project

LEARNING OBJECTIVES BEAD WEAVING

STREETSCAPE BARCELONA BRACEELT BW2-13-STRBARC 6 ½ - 7" Bracelet Intermediate Level

BEGINNER INTERMEDIATE ADVANCED

TECHNICAL MECHANICS

1. Selecting Materials BEGINNER

2. Positioning Your Fingers and Hands, and Holding Your Piece To Work It

BEGINNER

3. Working with Thread, Waxing Thread, Managing Thread Tension

BEGINNER

4. Finishing Off Threads in Piece or Extending by Adding Threads

BEGINNER

5. Working with Beading Needles and Tools Used in Bead Weaving

BEGINNER

6. Reading Simple Pattern, Figure and/or Graph

INTERMEDIATE

7. Identifying Areas of Potential Weakness, and Strategies for Dealing With These

BEGINNER

8. Determining Measurements, including Width and Length of a Piece, Especially In Relationship To Bead Sizes

BEGINNER












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UNDERSTANDING CRAFT BASIS OF STITCH

1. Starting the Stitch INTERMEDIATE

2. Implementing the Basic Stitch INTERMEDIATE

3. Working Stitch in Flat Form INTERMEDIATE

4. Increasing and Decreasing

5. Creating Simple Surface Embellishment

6. Creating a Simple Edging or Fringe

7. Finishing Off Your Piece With A Clasp Assembly

INTERMEDIATE

8. Working Stitch in Tubular Form

9. Working Stitch in Circular Form

BEGINNER

10. Working Stitch in Spiral Form

11. Working Stitch in Diagonal Form

12. Working Stitch in 3-Dimensions (sculptural or cubic)

13. Working Stitch To Create Open (Negative Spaces), and Split Forms

INTERMEDIATE

14. Embellishing the Surface of Your Piece

15. Elaborately Embellishing the Project, including Fringes, Edge Treatments, Bails, Straps and Connectors












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UNDERSTANDING ART & DESIGN BASIS OF STITCH

1. Learning Implications When Choosing Different Sizes/Shapes of Beads, or Using Different Stringing Materials

INTERMEDIATE

2. Understanding That Materials Differ in Terms of Whether They Will Mix in the Same Piece, They Will Work Well With Certain Stringing Materials, or They Will Work Well With Certain Bead Weaving Stitches

INTERMEDIATE

3. Understanding Relationship of this Stitch in Comparison to Other Types of Bead Weaving Stitches

INTERMEDIATE

4. Understanding How Bead (or Finding or Stringing Material) Asserts Its Need For Color, Using This Stitch

INTERMEDIATE

5. Creating Your Own Design with This Stitch, in Reference to Design Elements and Jewelry Design Principles of Composition – Such as Rhythm, Orientation, Balance, Distribution, Parsimony -- Achieving Good Unity Of Purpose

6. Creating Shapes, Components and Forms with This Stitch, and Establishing Themes

INTERMEDIATE

7. Anticipating Issues of Movement, Drape, Flow, and Durability

8. Building in Structural Supports, and Other Support Elements, into the Design

BEGINNER












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9. Strategically Integrating 2 or More Types of Stitches Within the Same Piece

INTERMEDIATE

BECOMING BEAD WEAVING ARTIST

1. Understanding Under Which Circumstances One Stitch Would Be Preferred Over Another

2. Understanding the Architectural Foundations Underlying Each Type of Bead Weaving Stitch

3. Taking an Experimental Approach to Project Development, Something Beyond Following A Set of Steps

4. Able to Intentionally Control the Interplay of Light, Dark, Shadow, Reflection and Refraction

5. Understanding How Jewelry Functions in a 3-Dimensional Space, Sensitive to Position, Volume, and Scale, Interacting with People (Wearer and Viewer), Touching Simultaneously on Aesthetic, Cultural, Social and Psychological Levels.

6. Developing A Personal Style

7. Valuing or Pricing Your Work

8. Teaching Others The Stitch

9. Promoting Yourself and Your Work












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10. Advocating for Jewelry as "Art" and as "Design"

IV. Next Steps

IVA. Suggested Readings: Creative Bead Weaving, (Carol Wilcox-Wells), Lark Books, 1996 Teach Yourself Visually: Beadwork, (Chris Franchetti Michaels) The Complete Guide to Beading Techniques, (Jane Davis), Krause Publications, 2001 Mastering Beadwork: A Comprehensive Guide to Off-Loom Techniques, (Carol Huber Cypher) ColorWorks, (Deb Menz), Interweave Press, 2004 The Complete Book of Color, (Suzy Chiazzari), Element Books, 1998 The Beader's Color Mixing Directory, (Sandra Wallace), Krause Publications, 2007 Exploring Color, (Nita Leland), North Light Books, 1998 The Beader's Color Palette, (Margie Deeb), Watson-Guptill Publications, 2008

This pattern is for personal use only. Instructors interested in teaching this pattern should request permission. All jewelry, artworks, images, designs, copy, Copyright 2015 Warren Feld. All rights reserved. LearnToBead.Net Phone: 615/292-0610 Website: www.landofodds.com , www.bedazzledbeads.com , www.learntobead.net Email: [email protected] [email protected]












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Documents

Streetscape-Barcelona Bracelet Instructor: Warren Feld ...Park Guell Palette (Red Gold and Blue Amethyst) Intermediate Level BW2-13-STRBARC: ParkGuell Become one with the romantic