Ask Anna

Frequently Asked Questions

Anna Draeger — Wed, 01 Oct 2008 14:05:00 GMT

I decided to compile a list of some questions that I receive frequently. I will continue to add questions with answers over time.

Q What are Japanese cylinder beads?

A Japanese cylinder beads are seed beads that are manufactured in Japan. These beads are uniform, have thin walls, a cylindrical shape, and large holes. The two primary companies that make these and other beads are TOHO (their cylinders are called Aikos and Treasures), and Miyuki (their cylinders are called Delicas). Cylinder beads come in sizes 15, 11, 10, and 8. They come in different finishes, and hex-cuts as well. To read more about seed beads, download our Terms of the trade article.

Four sizes of cylinder beads

Q Where do I find magazine extras on the Bead&Button Web site?

A Most of the time, we print the exact links in the article. But if you are having difficulty finding something, for example the free pattern for my tubular peyote bracelet from Stitch Workshop in the August 2008 issue, p. 30, here's how to locate it. First, go to the Magazines tab at BeadAndButton.com. Click on the Resource Guide, then choose the August issue. As you scroll down the August page, you will see all the extra online information for that issue. The Resource Guide also lists sources for hard-to-find components.

Tubular peyote bracelet

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Blending colors

Anna Draeger — Mon, 01 Sep 2008 13:26:00 GMT

Q Is there a formula, or easy technique to blend colors from one end of a crochet rope to the other?

Jennifer Pender

A Thanks for your question, Jennifer.

The more colors you use, the less obvious the shift in color will be.

I love working with color, and I have a realm of comfort that I rarely step out of when it comes to color use in design. Color gradation is just one of those techniques that you really have to have a feel for in order to achieve greatness. Since most of my own designs are symmetrical and usually , the abstract concept of flowing harmoniously from one color to another is difficult for me. So, in order to make myself practice this technique, I have come up with a basic formula to work from one end of a crocheted rope to the other, going from a light to dark spectrum.

The first thing to do is gather up your colors. What I like to do is pick a general color, say green. Then I get as many colors as possible, starting with the lightest shade and going to the darkest. The more colors you have between the lightest and darkest shades, the more subtle the blending will be. The fewer shades result in blocks of color. I worked a sample crocheted rope, using five beads per round. Working a small sample lets you see what colors go well together, and you can keep these samples for future reference when using color in other designs as well.

As an example, lets say we have ten colors: A–J (I used size 8 beads from my stash). Pour a small pile of each color in order from A–J. As you string them on the crochet cotton, pick up a repeating pattern of A–E ten times. Drop the A and string a repeating pattern of B–F ten times. Then C–G ten times, D–H ten times, E–I ten times, and F–J ten times. As you crochet the rope, after each tenth round, the lightest color is dropped, and the second lightest color takes its place. This is why it is important to have subtle color changes from A–J, otherwise the change would be very obvious.

This is not the most artistic approach to gradation, but it is a good way to give yourself a boost in the right direction, and having samples of how well colors work together is never a bad thing. Good luck, and if anyone else has any tips on blending colors, please leave a comment!
Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Reading a pattern for peyote stitch

Anna Draeger — Fri, 01 Aug 2008 13:00:00 GMT

Q How does one "load" and follow a pattern for flat peyote stitch? I'm talking bead by bead. I realize it will vary pattern to pattern, but I have bought a lot of books, but none of them spell it out in a very specific way. If someone would just describe it for one pattern, I'm pretty sure I'd be able to apply it to all such projects. I can figure out odd vs. even, but changing colors to follow the pattern mystifies me. Thanks, Nancy Boyum

When reading and following a tubular peyote pattern, do you read the pattern as you would for flat peyote stitch, or do you "read around" the pattern as if the pattern were on a tubular structure and you begin on the same end of the pattern each round? Thanks, Marianne Goodman

A I thought I would try to answer both of these peyote questions in one post as they are somewhat related. First of all, you only "load" the beads that will comprise the first two rows or rounds of any pattern. As you continue to add rows or rounds, you will pick up one bead per stitch (for regular peyote). Refer to the illustration for a sample of a pattern worked in flat even-count peyote:

1. Starting at the bottom of this simple pattern, pick up the beads to make up the first two rows. In this pattern, that would mean picking up two black, two red, and two black beads. In a more complicated pattern the same rule would apply, just in a larger quantity of beads picked up.

2. To begin row three, pick up a red bead, skip the last black bead picked up, and sew through the next black bead.

• Pick up a black bead, skip a red bead, and sew through the next red bead.

• Pick up a red bead, skip a black bead, and sew through the last black bead in the row.

3.This is where I would flip my work, because I like to work in the same direction, while holding my beadwork. If you prefer, you can leave your work on the table, and just work back and forth. Whichever works best for you. Just remember, if you flip your work, you need to read the pattern from left to right, and then right to left for each row.

• Pick up a red bead, and sew through the next red bead (from now on, the beads you sew through stick up or out, which is why they are sometimes referred to as "up-beads" in patterns).

• Pick up a black bead, and sew through the next black bead.

• Pick up a red bead, and sew through the next red bead.

4. Continue following the pattern, adding one bead per stitch.

If you are working in tubular peyote, after "loading" the first two rounds, you would tie the beads into a ring and step up through the first bead. Then as you work subsequent rounds, you would read the pattern from left to right for each round, stepping up after each round.

These beads that make up the "bottom row" are actually the first two rows. When you pick up the beads in your pattern to get started, you must pick up all the beads for these two rows first.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Multistrand twisted necklaces

Anna Draeger — Mon, 30 Jun 2008 20:24:00 GMT

Q How can I keep the twist in a twisted necklace?
A I have received this question more than once, and I had to play around with the idea for a while. I have decided that the easiest way to keep a twist is to work with wire instead of flexible beading wire.

Multiple strands hold their shape when wire is the stringing material used.

After many failed attempts and some lame outcomes, I decided that there is a reason I don't do much stringing. But, since I won't let those beads beat me, I switched from flexible beading wire to 24-gauge silver wire. I wrapped the ends of two wires around a fun manufactured spiraling wire necklace, which I had strung size 8 cylinder beads onto. After I secured the wire ends to the necklace, I strung two different styles of beads on the wires. I twisted the 24-gauge wires together (you can change how defined the twist is by making a few or many twists in the wire), and then wrapped them around the necklace. If you cannot find a premade necklace, make one using 18-gauge wire coiled loosely around a dowel. You can make a tighter spiral by using a smaller dowel, or a larger spiral by using a larger dowel. A plain loop on each end will provide a place to attach a clasp.

Use a variety of bead sizes and styles to create an interesting look.

I also made a bracelet by using 22-gauge wire. I simply made a plain loop on the ends of two pieces of wire, strung my desired beads, twisted the wires together, and made a plain loop on the other ends of the wires. I attached a clasp to the loops on both ends of the wires with jump rings. This technique would also work well for a necklace as well, or for a piece with more than two strands. In any case, this was a fun project that resulted in two cool pieces.

If anyone has any tips for twisted necklaces or bracelets, I am all ears!
Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Begin to design beaded jewelry

Anna Draeger — Fri, 30 May 2008 17:45:00 GMT

Q How do you come up with designs for beaded jewelry?

A I've been asked this question countless times while teaching a class, or at the Bead&Button Show.

Crystals are my favorite design element

Most of the time when I sit down to create a new pattern, or incorporate a cool new style of bead into a design, the act of just working with the materials ends up resulting in some sort of jewelry. Not right away, of course, but if I work long enough, something usually begins to emerge. If I feel like I am "blocked," I just keep going. A lot of the time, I will just cut off whatever it was that I was working on, let it go, and start fresh. Sometimes a little part of a stitch, or the way two different beads sit together, is enough to spark a new direction. But if it isn't that easy for you, here are some ideas to get you started:

Working in a comfortable color palette helps my flow of creativity

• First of all, I think it is really important to surround yourself with materials that inspire you. Fill your work surface with materials you love, but mix it up once and a while. It is no secret I love designing with crystals, but sometimes the variations in a beautiful strand of ocean jasper can really get my mind going in a different direction than if I had only crystals in front of me. If you like a certain designer, or a particular style of jewelry, start there. Make something designed by someone else, then try changing it as much as possible. If you must, start by only changing the color, but then change some of the beads and see if other styles work. The more you experiment, the easier it will be to know what will go nicely together, or how the different styles of beads can complement each other.

• Learn the basic stitches. I feel like the best thing I did while teaching myself to bead was to learn all of the stitches, and learn them thoroughly. This way, I could combine the stitches together, making some really interesting designs. It really helps to feel comfortable with all the stitches, so if you find yourself in a rut, learn a new stitch, or revisit one you haven't done in a while.

• Maybe try a stitch in some beads you normally wouldn't have. I love the way triangle beads nestle together, changing the basic stitch because the beads won't behave like round ones. Grouping beads on your work surface can help you fit the beads together like a puzzle, and also choose your colors better than if they were left in tubes or bags. I find that tubed beads often look like a different color once out of their containers.

• Master the techniques. Adding and ending the threads, crimping like a pro, and working even stitches make all the difference when designing. You can't have a fabulous design if the thread ends are showing all over the place, or the crimp beads are mashed or loose. Give attention to the details, like covering crimps to give any piece a finished look. Take the time to really think your jewelry design through.

• Take a class. When I get a chance to take a class, which unfortunately usually only happens at the Bead&Button Show (so once a year), I am amazed by how inspiring it is. Fortunately, taking classes at the show is a huge benefit, since some of the best teachers are there. Watching masters teach, the way they utilize their tools, or the expertise they exhibit with their color palette make it really worthwhile. Open your mind while in class and let the teacher teach, but also listen to fellow students. Many of them may have been working with beads long enough that their own beading wisdom enhances the class.

• Bead, bead, and bead some more. You have to make the time to allow your creativity to take over. Set aside some time each day or once a week, even if it is jotting down an idea or sketching out a part of an idea. Look at store displays or products for design ideas or color options.Take some time to sort or organize your favorite beads, which can lead to great ideas. And go easy on yourself! If something doesn't work out, try again. It takes time to get it right.

I think it is one of the best feelings to be complimented on a piece of jewelry, knowing that my creativity and passion for beading can move someone else.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Buying pearls

Anna Draeger — Tue, 13 May 2008 13:36:00 GMT

Q I have been attending gem and jewelry shows for a while, and it is really hard for me to buy pearls. I always find myself wondering what is fake or just low quality. Often strands of pearls look the same, but the price points are starkly different. How does a beader buy the best pearls and know she is getting quality?

Andrea L. Dono

Falls Church, VA

A That is a really good question, Andrea. There are several things to consider when buying pearls, including style, color, and cost. Pearls come in so many shapes and colors that it is difficult to determine what defines quality. I will cover a few points about cultured pearls, which hopefully will help you next time you are standing in front of a sea of pearls at a show.

If you want to knot between a strand of pearls, making a classic pearl necklace, the pearls will be the main focus of the design, and you need to choose them carefully. Look for the following things: shape, color, surface, and cost. Your own taste and budget will determine what you choose. If you want perfectly round pearls with beautiful luster and a smooth surface, you should expect to pay more than you would for treated pearls. Some pearls are treated to enhance the color, and many of them are very beautiful, so you can use them just as they are in a classic design, or use them in other designs. Treated pearls also come in a variety of shapes: potato, rice, teardrop, button, coin, and many, many more. This further increases design options.

Once you decide on a color and shape, take a closer look at the surface of the pearls. They should be shiny and smooth. Lower quality pearls will have wrinkles, bumps, or other blemishes on the surface, and that can be undesirable, although some designers incorporate these unusual textures as part of their designs. Look between the strung pearls to see that the holes are smooth and even. Some low-cost pearls actually show the layers of nacre around the hole, which can be rough or sharp.

Quality pearls have some weight to them, and of course the larger the pearls on the strand, the heavier the strand should be. Next time you have access to some really expensive pearls, take a look at their characteristics and remember their weight and feel. Check out the deep luster, the shine of the surface. Then keep these in mind when you are looking at other sizes or styles. If they have these desired traits, check the price; if that is in line with what you've seen before, then you are probably making a good purchase.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Seed bead finishes

Anna Draeger — Mon, 31 Mar 2008 15:42:00 GMT

Q I know some glass seed beads are color dyed. Besides doing the sunlight, chemical, and detergent experiments I've read about, is there any way to know if a bead is dyed? By manufacturer? By glass type (opaque, color-lined, transparent)? I especially want to bead some breast cancer awareness ribbon pins, but all the pink beads I find look "fishy."

Question #2: Is it possible to read all the questions and answers in Ask Anna?

Lori Williams
Excelsior Springs
Missouri, U.S.

Japanese cylinder bead sample cards

Thanks for your question, Lori. On most tubes of seed beads that I have seen, the label says if the beads are dyed. Some beads and colors are worse than others - unfortunately pinks and purples are high on that list. I have sample cards from Toho (above), and for each bead sample they give a number and a little symbol that indicates what will affect the finish of the beads. Galvanized beads are coated, and their finish can rub off over time. Also, any beads with a metallic finish can tarnish or oxidize. Transparent beads that are dyed fade over time when worn often or exposed to water. Lined beads (where the color is applied to the hole of the bead) can also change color or rub off over time.

The best way to combat these problems is to take off any jewelry before showering, doing dishes, washing the dog, etc. But that goes for most jewelry anyway. You can avoid these different finishes when designing, but you’ll be giving up a lot of beautiful colors. My best advice is to handle the finished pieces with care and, if you are selling your designs, tell your customers to do the same. I hope this helps! Also, click here to view our Tips & Techniques article from the December 2006 issue of Bead&Button, which has more descriptions of beads and finishes. If anyone has any more information I may have overlooked, please post a comment. Thanks!

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

PS: We've changed the format of Ask Anna so that you can view all the questions and post comments as well!

Peyote bail

Anna Draeger — Fri, 29 Feb 2008 20:29:00 GMT

QI bought a 2 x 1-in. (5 x 2.5 cm) gold-foil glass pendant, but I can’t find a bail that is large enough to fit the thickness (about ¼ in./6 mm). Can you suggest a solution besides stringing a cord through the hole?

Thank you,
Dorothy Siu
Leandro, CA

AThanks for your question, Dorothy. I have a few ideas for you. Use wire-wrapping techniques to make a customized bail that is as simple or elaborate as you like. Or you could string a few beads on a short piece of beading wire and crimp the wire into a ring, making a more decorative bail than just using a large jump ring (which you could also use).

Bail made with tubular peyote stitch (Online Basics)

Another option: Working in tubular peyote stitch (Online Basics), pick up enough size 11 seed beads to make a ring large enough to fit around the top of the pendant and accommodate the thickness of the cord you will be hanging the pendant from (photo a).

Photo a

Use size 11 seed beads for the next round (photo b).

Photo b

Switch to size 11 cylinder beads to stitch the outer two rounds (photo c).

Photo c

Stitch the last two outer rounds using size 15 seed beads. The decrease in bead size makes the bail curl in a bit along both edges.

Photo d

Hope these ideas help. If anyone else has an idea for Dorothy, please post your comment!

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Stretchy Cord

Anna Draeger — Fri, 01 Feb 2008 18:00:00 GMT

QI would like to make a ring using good quality stretch material.
Can you tell me what to buy and how to use it?
Thanks, Donna Klotch
Hampton Falls, New Hampshire

AThat is a good question, Donna. Whether you are making rings, bracelets, or other elastic jewelry, here are two kinds of elastic cord that should be used for beading.

The first cord has a single filament, which is mainly used with larger-holed beads. You string the beads directly on the end of the cord rather than using a needle. This material usually comes in a range of diameters from .05 mm-2 mm. Choose the .05 mm cord for smaller beads or small-holed beads, and use the larger diameters for larger or heavier beads. This cord comes in clear as well as a variety of colors. One drawback to elastic cord is that continual stretching can cause breakage, and with a single filament, you have no warning.

There is also a multi filament cord that comes in a variety of colors, but the closest it comes to clear is a milky white. This material is better for stitching because you can use a Big-Eye or twisted needle with it. I like the multi filament cord because it frays before it breads, giving you a little warning.

Both cords should be finished off by knotting and dotting with glue instead of using crimp beads. Crimping the crimp beads can be too abrasive against the cord and can cause breakage. Usually both cords keep their elasticity well, but as with any elastic material, they can loosen up over time.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Liquid silver

Anna Draeger — Fri, 04 Jan 2008 18:00:00 GMT

QI recently purchased a broken liquid-silver necklace from a jeweler friend who was going to melt the beads down. I just couldn't let him do that with all those gorgeous silver beads. I need to restring the beads, but I am not sure what to string them on. They are very tiny, and I want to make the necklace as strong as possible. Any suggestions? Thanks, Paula Lawrence

AI don't blame you for rescuing these tiny treasures. The appearance and feel of liquid silver is unmistakable, and with a little care, strung liquid-silver beads can be beautiful jewelry for a long time. Liquid-silver beads are sterling silver tubes with small holes and usually range from about 2-10 mm in length. The term liquid silver reflects the way the beads look when they are strung (usually on multistrand necklaces), flowing together as a complete unit. There are also gold-filled and base metal tubes in the same sizes and shapes as the silver, and there are twisted and shaped tubes as well.

To answer your question, I prefer size .010 Soft Touch 7-strand beading wire when stringing liquid-silver beads. It has the strength and drape that you are looking for. You can string liquid-silver beads on regular beading thread, but I like the Soft Touch because you have the versatility to finish the necklace in several different ways. You can use Micro-crimps to finish each individual strand using a multistrand clasp, you can use regular crimps to group the strands together using a single-strand clasp, or you can tie knots in the Soft Touch if you want to use bead tips.

When storing liquid silver, place a tarnish-preventing strip in with the beads. Finished jewelry can be stored in pouches made of tarnish-preventing fabric, or for best results, wear your jewelry often, as this is the best way to keep tarnishing to a minimum.

For a liquid-silver necklace and bracelet project, check out Silver Cascade by Glenda Payseno in the June 2005 issue of Bead&Button magazine.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Peyote stitch cabochons

Anna Draeger — Thu, 03 Jan 2008 16:10:00 GMT

Q I purchased some angular stone beads at a show, only to get them home and realize they weren't beads - they were cabochons. Can you give me some tips on bezeling these with peyote stitch so I can incorporate them into a necklace? - Samantha Mitchell

A When working with sharp angles, the sizes and styles of beads is important to consider. Here are a few examples of what I came up with using seed beads.

In photo a, I worked the first two rounds using size 10 cylinder beads, then dropped down to size 11 seed beads for the next round, and then size 15 seed beads for the last round. This gradual decrease in bead size allows the beadwork to gently snug up around the sides of the cab, without having to add too many rounds, which would cover the face of the stone, hiding some of the detail.

For the cab in photo b, I used the same size beads to work peyote, but I built the corners to give the bezel a more customized look. You can accomplish this by stitching through the previous rounds instead of adding beads for every stitch. This way only the corners of the bezel are coming up over the top of the cab, and most of the face is exposed.

I thought it might be cool to use seed beads to mimic the encased look of a wire-wrapped cab. I worked the first two rounds with size 11 seed beads, then switched to size 15 seed beads for the next round. This created a narrower bezel, which would not hold the stone in place. I used size 15 beads to stitch a free-form netting over the face of the stone to secure it photo c. You could just catch the corners in the netting if you don't want to hide too much of the face of the cab.

Using smaller seed beads gives the bezel more flexibility, especially when surrounding a sharp corner. Larger seed beads may not cover as nicely, as shown in photo d. Notice how the bezel on the left shows much more thread than the one on the right. There is only a slight difference in size between the two beads, but that, along with the more cylindrical shape of the beads on the left, makes it more difficult for the beadwork to wrap nicely around the bezel. So, choose your beads carefully when you stitch peyote bezels.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Spiral rope for a beaded necklace

Anna Draeger — Thu, 03 Jan 2008 14:32:00 GMT

Q I am trying to stitch a necklace with that includes several focal beads with about six inches of spiral rope on either side. The overall length will be about 18 inches. Here is my problem-I want to end the spirals at the point where the glass beads begin, but I can't make it flow. What should I do? - Debbie Melter

A In order to stitch a fluid design in spiral rope with a section of focal beads, you need to start with a base row. Secure one end of your necklace with a bead stopper or some tape. String all the base beads for one side of your necklace, then the focal beads, then the base beads for the other side of you necklace on flexible beading wire (photo a).

photo A

photo B

Using beading thread, work one side at a time, completing one spiral, and securing the tails in the beadwork (photo b).

Start a new thread to complete a spiral on the second side (photo c), and secure the tails. Use crimp beads and a clasp to finish the ends of the necklace.

photo C

This method is good for two reasons. First, you create a sturdy base to support your focal beads, which can be too heavy for some beaded ropes. And second, you can attach the clasp with crimp beads, which is more secure than stitching a clasp onto a beaded rope.

If you want a continuous article without a clasp, string all of your beads and cross the wire ends through a crimp bead near the back of the necklace. Temporarily secure the ends until you are almost done with the spiral. Leaving a little slack between beads, crimp the crimp bead, and trim the beading wire. Finish the spiral over the crimped section, and secure the tails.

Art glass by Scott Bouwens, visit Bearfoot Art at www.bearfootart.com.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine

Meet Anna

Anna Draeger — Wed, 02 Jan 2008 18:00:00 GMT

I have been designing beaded jewelry and accessories for 17 years. In that time, I have concentrated mostly on off-loom beading techniques, although I have made loomed amulet bags and countless bracelets. My favorite stitches are Peyote, Ndebele herringbone, and right-angle weave, but I love the versatility of all the stitches.

When I first started beading, I learned one stitch at a time, making projects until I felt comfortable with it. Then I tried every possible way to modify it using a variety of beads. This always led to several design possibilities, along with plenty of frustration. Fortunately, concentrating on one stitch at a time allowed me to work out many kinks, and learn the stitches thoroughly. (I also consider myself an expert at untangling knotted thread and threading needles. These skills are appreciated by my students!)

Now I am in a position to help you develop your beading skills and achieve your design goals. Send your questions to me at anna@BeadandButton.com, or use the "Ask Anna" contact form.

Anna Elizabeth Draeger
Associate Editor
Bead&Button magazine