Basics

“If there is a problem you can’t solve,

then there is an easier problem you
can solve: find it.”

George Pólya

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 Yes You Can!
At first glance, Contemporary Geometric Beadwork may not look like a book
meant for beginning beaders, but that doesn’t mean that beginners can’t make
the work. It’s all rather straightforward, as most of the pieces are based on
just a few structures: a great Bellyband, a simple triangle, a flat square, a few
herringbone-style increases and decreases.

Anyone with decent vision (or a good pair of reading glasses) and a love of
small handiwork can pick up a needle and beading thread and start off with a
Basic Flat Square, or a Flat Peyote Triangle, and then maybe a Tri-Wing Ring.

For very basic basics, and to learn more stitches and techniques that can be
used to build or embellish your work, we encourage you to explore the world
of the beading magazines. They teach useful stitches and have beginning
projects in every issue, and many of them also have lists of bead stores and
bead shows in your area. Please also see the Team Pages (230-231) to discover
great beginner-level beading and pattern books by Dustin Wedekind and
Jean Power.

Below: a Power Puff Ring (pg. 62) by Carol Taylor and a Flat Peyote Triangle
(pg. 50) by Kate.

Opposite page, from top: a Flat Peyote Triangle by Kate, a Möbius Double-
Cone Ring (pg. 225) by Christina Vandervlist, and a Fortuneteller Bangle
(pgs. 164-195) by Christina Porter.

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 Basics: Supplies
Getting Started
You don’t need much in your toolbox to start beading. You’ll want a pack or
two of needles (they bend and break with use and need replacing), beading
thread, something to cut the thread cleanly (we use things like little sharp
scissors and snips) and a few different kinds of beads.

We’ll tell you our favorite things, but the world is stuffed with choices and
each product has its fans. Admittedly we have strong feelings, but that’s only
because we are passionate and nerdly people, incapable of ambivalence.

Thread
For the core crew of this book, the thread of choice is definitely Nymo B or D
from the cone. It’s old school, we know, but it’s what we like. Nymo is a lush,
sturdy nylon Italian upholstery thread, and it comes in a variety of weights
and colours. It has a positive “hand”, it means business, it feels like silk and
needs no waxing. But this heavenly Nymo of which we speak only rolls off of
the large cones.

The little paper bobbins of Nymo (which are sold in almost every bead store)
are conveniently sized for travel but the thread is uncoated and is really
nothing like the cone thread. If you only know Nymo from a bobbin, you don’t
know Nymo. And if you use the bobbins, plan on waxing. Most beaders love
the little containers of microcrystalline or synthetic wax but some are old
school and have actual beeswax.

Other threads used by beaders who contributed to this book are KO, Sono,
One G, CLon, Fireline, Silamide, and Power Pro. Try them all, and see
what suits you. Thread choice is a personal and important element in your
beadwork. Don’t even think of letting us tell you what to do.

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 Thread As A Secondary Structure
If you’re using any single ply unpierceable thread, your product of choice can’t
easily be used to weave a secondary structure inside your work.

Unpierceable thread (such as Fireline) holds the beads together by their holes;
their fates are the same and they make a single structure. Many beaders prefer
unpierceable thread, and there are certainly applications for which it’s perfect.
For the beadwork in this book, however, we chose Nymo from the cone because
it can be pierced, which means that we can use it to weave our little strong-webs
inside the beads.

Doing this, working like weavers, moving through previously placed threads as
we place our new stitches, we can make a robust secondary structure inside the
beadwork, creating a fabric that resembles a linen weave. This enhances our
tailoring, giving us both a hidden support structure that we can rely on to take
some of the pressure off of the beads, and something to sew into besides the
bead holes. (You can imagine how handy it is to have both the bead holes and the
fabric of the thread weave when sewing on snaps, buttons, or embellishment.

Because of the way it’s made, of joined fiber strands, Nymo has a grain. It’s really
much like your hair; ideally, you don’t want to rub it backwards. If you can’t tell
which end you are on by gently running it through your fingers, thread the end
that comes off of the spool first, and you’ll always be right. This grain also means
that the thread tends to felt itself together as you pierce it, and backing out
mistakes can be very difficult.

Remember to think kindly of the thread as you pull your needle through the
beads. Pull the needle straight out of the bead holes, so that the thread isn’t
pulled across the bead edges. If a length of thread goes bad, and begins fraying,
fuzzing or tearing, simply weave it in and start a new one.

Simple hair ties,

beer can cozies and
produce nets come
in handy to keep the
thread neat on our
large spools.

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 Basics: Supplies

Needles
Needle preference has a lot to do with hand size
and dexterity. Most of us on the CGB crew prefer
needles in size 11 or 12, 2” long. Beading needles are
inexpensive enough for you to experiment with-
we recommend that you try them all and choose the
ones most comfortable for your fingers. Kate swears
by Size 11 Pony needles, 2” long, from India, and
Christina prefers the John James #12 shorts.

An interesting fact about needles is that their

eye-holes are punched. This means that one side is
rough, and one smooth. If you are having a hard time
threading a needle, turn the eye over and try again.

When we thread our needle, we are really needling

our thread. We pinch the thread (which we have
likely licked) between our finger and thumb, and
slide the eye of the needle down on top of it.
Try it!

To Knot Or Not
For a variety of reasons having to do with tailoring, lumps and bumps, most
of Team CGB don’t knot. Whenever possible, we prefer to weave threads in
(or out) when beginning or ending. Be sure to leave little tails when you weave
in or out, and don’t cut them until you are finished working in those sections.
We very much like Valerie Hector’s suggestion of using a removable stop bead
on all new threads, not just when you start a new piece.

When weaving in a thread, try to follow the existing thread path as much as
possible to avoid distorting your beadwork in unpredictable and possibly
undesirable ways. As long as you change direction at least twice, the thread
will be securely anchored. If you are using unpierceable thread, you may have
a deeper need to knot. Make your decision based on your materials.

Visible Thread is Vulnerable Thread

Whenever possible minimize your thread exposure. If it’s necessary to use
thread to attach another element, such as a soldered metal ring or a clasp,
make a loop that gives the ring room to move, and consider covering it with
tiny beads that cover your thread (see Tetrahedrons, pg. 87, for an example).
We try never to leave thread exposed on the edges of our work, whether flat
or dimensional.

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 Work Surface
Some people enjoy beading on synthetic bead mats, because they are foldable,
lightweight and tend to hold the beads in place. They can be used on cookie
sheets, put in stacking trays, or laid out on beach sand. Christina swears by
them. Below, you can see a shot of her setup while she was beading our first
Fortuneteller Bangle. Note the beads neatly sorted into piles, the perfectly
neat work field. (Those of us with messy trays say, “Snork!”)

Dustin beads from a shallow wooden bowl, like a shaman reading water or
mixing herbs. All of the beads are together, and he fishes the one he wants out
of the bowl with his needle. Marcia DeCoster mixes her beads together as well,
and she says it gives her a better feel for the colourway to let the beads play on
the tray as well as in the piece in progress.

Kate loves to have neat little piles of beads but always ends up with a scatter
of sparkle across her purple velvet board. Teresa Sullivan only likes to work
on white plates with a bit of curve. Sandy Wogaman likes a watercolour tray
(devilled egg servers are good too) to keep her beads separate. Both Kate and
Cath Thomas like to work in stackable trays, which can be quickly moved out
of the way without disturbing the projects in process, or stacked to the rafters
when we find that we are working on twenty things at once. Jean Power can
work anywhere, on anything, and use any thread, but if we were all Jean Power,
the universe would explode, and so the rest of us get by.

For travel, we love the aluminum tins that snap securely together. They come
with synthetic pads, but any sort of custom pad or covered board can be used.
See our online Resources section for where to buy real velvet pads, stacking
trays, and travel tins. Find the synthetic pads at any bead store.

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 Basics: Supplies

Right: Each of these

beads is marked 11°,
but you can see how
different they are in
shape and girth.

Seed Beads
Seed beads are little glass marvels in a doughnut shape. The ones you see in
bead shops usually hail from the Czech Republic, India, or Japan, and are
found in many sizes. For the work in this book, we used them in sizes 8° and
11° for beadwork and 13° and 15° for edging, embellishing and tailoring.

Japanese seed beads are very even and work well for precision patterns.
Czech and Indian seed beads are made with looser sizing standards and
different equipment, and they vary both in dimension and hole size. We
mix it up, and use Japanese seed beads where consistency is desirable, and
Czech seed beads where texture is more appealing. Czech and Indian seed
beads are often sold by the hank, and Japanese beads are packaged loose.

Cylinder Beads
Cylinder beads are even more miraculous in the world of glassworks. The
cylinder beads used in this book were all made in Japan, and are incredibly
precise and predictable. They have thinner walls than seed beads, which
means larger centre holes and more room for thread passes.

Beading is ancient, but precision cylinder beads are new, only having arrived
in America in the 1980s. We’re the first generation of beady humans to have
the opportunity to work with them, and we think about that with happiness
and humility. It’s a privilege to have these exquisite materials.

The most common size is 11°, although the 10° is gaining in popularity. The
15° can be very fragile, and the holes are much smaller, which make pieces
like Lia Melia’s (pg. 45) all the more astounding. We used cylinder beads
from Toho (Aikos and Treasures) and Miyuki (Delicas) in the making of this
book. We do tend to avoid the silk-finished cylinder beads, as they are so
fragile.

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 Crystals and Fire Polished Beads
Leaded glass crystals are extra sparkly, and we use them to emphasize
structure or provide an attractive embellishment (see A.J. Reardon’s
Power Puff Bangle, which features them at every Point Round, pg. 55).

Fire-polished faceted Czech glass beads are also very pretty, and have
nice soft holes. (This matters- if you like to use fiber thread, sharp-edged
beads and crystals can damage it.)

Swarovski makes leaded crystal beads in many sizes and shapes; the most
commonly used are faceted round or bicone shapes. These are usually
measured by the millimetre, through the centre of the bead from the
entrance hole to the exit hole.

Accent Beads
Gemstone daggers and round gemstone balls make appearances in pieces
like the Jalisco Bangle, by Cath Thomas (pg. 214), and glass drop beads
appear on various Rick-Rack Bangles, Wing- and Horn-tips. You’ll see glass
triangle beads show up in MRAW Bellybands, and you may see dichroic
Aiko cylinders (look closely in Kate’s Sea Monster (pg. 99) or Jeannette
Cook’s fantastic Triangles (pg. 90).

You’ll see rivolis (flattish crystals with no holes) pop up in bezels, as in

Marcia DeCoster’s Puff Bezel (pg. 63) and in Jeannette’s pendant. There
is no bead that we do not love, that we do not contemplate with the eye of
a crow and a seamstress.

Right: An assortment of
larger seed beads, crystals,
fire polished Czech glass,
glass daggers, gemstones,
handmade glass and rivolis
in various sizes. The world
is simply stuffed with
beads! Isn’t it wonderful?

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 Basics: Tips & Terminology

Bead Breakers

A bead breaker can be as simple as a slender pushpin and an eraser, a low-tech

solution to that awkward pair where you meant to add just one, or find a bead
in the wrong place. The pushpin tip goes into the bead and explodes it outwards
from pressure (preserving your thread from sharp bead shards) and the eraser
catches the tip of the pushpin before you donate blood to the project.

The excellent thing about Japanese puzzle erasers (besides how adorable they
are) is that they come apart, giving you lots of little shapes to get into tight
spaces in your beadwork. The strawberries even have little handles. So cute.

Corners and Side Spaces

When building a geometric shape, corners are
created by adding increases to the structure.
Any space in your beadwork can be filled with
1, 2 or 3 beads, depending on the effect desired.
Any increase or decrease will create a corner,
even if begun in the middle of a side.

You can see this in the photo at left; one side of

our starting Bellyband has had three increases
added to it, forming a triangular opening on that
side. The other side of the Band remains blissfully
unaware of the disruption and remains round.
Side spaces are where the structure takes on a solid, fabric-like appearance,
building a single bead at a time. As you add increases to the corners of a piece,
the number of side beads required will grow. In related news, when you are
decreasing, the number of side beads will diminish.

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 Counting

Geometric beadwork has so many aspects that it

can be hard to be sure we are talking about the same
thing when we say “Round 5” or “five beads per side”.

In the illustration at upper right, you can see the

variety of ways to count to Round 5. When teaching,
we focus on the toothlike appearance of the bead
edges (we call them Toothrows), suggesting that
students count the teeth rather than the spaces.

When decreasing a geometric shape, the most

straightforward way to define size is to count the
working beads remaining per side (i.e., decrease
down to two beads per side, as illustrated, right).

Guide Round

A Guide Round (or Row) refers to a run of beads Below: Kate put two Guide
woven on top of existing beadwork, providing Rounds of lovely fat bronze
either a point from which to add more structure 11° rounds on her Mermaid
or embellishment or a place to run a secondary Cuff. Those rounds could have
support structure, such as memory wire (see the supported more structure, but
currently hold only a pass each
Sea Serpent, pg. 128). This sort of an add is also
of hot red 13° rounds.
sometimes referred to as “stitching in the ditch”.

Guide Rounds are best added in structurally

sound areas, and they are easiest to add early in
the beading process while the work is narrow
and pliant. It may become difficult to reach the
area required, or find room in the beads for your
needle, when work on the main structure nears
completion. Below, a Guide Round added to the
lower run of beads in the starting RAW band.

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 Basics: Tips & Terminology

Herringbone Increase & Decrease

Increase
To create a herringbone increase in
your peyote work, simply place 2
beads where there would otherwise
be 1 bead, as we do to increase the
Simple Flat Triangle, right.

By stacking the pairs of beads on

top of one another you will form a
rib, which can be continued up and
out to build a tip, a corner, a Wing,
or a Horn.

Decrease decrease in flat work

A decrease is a stitch taken while
adding no beads.You can see this in
the illustrations to the right, shown
both in flat work and in a decreasing
Power Puff Triangle.

Decreases, like Step Ups, can be hard corner decreases in circular work
to spot when you are learning, but
in reality they are predictable, and
the key to spotting them is to study
the structure, so that you understand
what your rounds should be making.
That way, if things seem wrong, you
can stop and ask yourself why.
(And start counting teeth.) decrease decrease

Needle Back or Needle To

If we tell you to “needle” somewhere, we mean for you to pass your needle
through the beadwork (following the existing thread path if possible) to
reach a specific point, where presumably the next excitement will begin.

If we tell you to “Needle Up”, then we are probably inviting you to either a
bead party or to go to acupuncture with us. Either way, say yes!

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 Pass Through and Pass Back Through

“Passing Through” refers to going once more

through a bead you’ve been through previously.
Sometimes this will be done to complete a stitch
(see Step Up, pg. 25), while other times it may be Above: Passing
required to move through your beadwork to the Through a few
point necessary to begin the next step. beads to get to a
new starting point.
We can’t say why you want to start your next
round one space forward in the illo at upper Below: Passing
right, but we bet you have a good reason. Back Through to
Perhaps you are adding a little picot edge to create a fringe.
a cute Tri-Wing Ring, as in the one peeking
onto the page. To do that, you need to add
a few beads, pass through a few beads.

“Pass Back Through” is to pass your needle back

through one or more beads that you have passed
through previously, this time in the opposite
direction. It is often used to create a fringe
(right) or add accents to an otherwise complete
section of beadwork.

Toothrow

You know that it pains us to have “Toothrow” out of alphabetical order.

But perhaps it helps make the point that a Toothrow can be anywhere.
Anywhere! When we speak of a Toothrow, what we mean is any peyote
or RAW edge; any row or round of beadwork that presents in little teeth,
waiting to hook on to something.

When you add a Guide Round or Row to a piece, what you are really doing
is sticking a Toothrow onto it, a place for new beadwork to land.

Don’t the peyote

edges look like
little teeth?

23

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 Basics: Tips & Terminology

Point and Fill Rounds

A Point Round is added by stitching a single bead

into each corner, as in the illustration to the right.

A Fill Round of one bead per space follows a

Point Round. Fill Rounds may be followed with
a Decrease (0 beads in the corner), an Increase
(2 beads in the corner), or another Point Round A Point Round
(1 bead). Alternating Point and Fill Rounds is
how to continue beading at the same diameter,
to make a tube or add depth.

An Increasing Triangle Point Round added Fill Round added

If you look at the last drawing on the right, above, and think of the Fill
Round as creating little flaps you can pull in, you will see how making tube
or decreasing works. Can you see how the adds make three little blue sides
to fold straight up (for tube) or fold over and in (to mimic the last Increase
Round) and make a Power Puff?

Rows and Rounds

Rows are how we talk about progressions in

flat work, and Rounds describe circular work.
Rows start and end on opposite sides of your Row
beadwork. Rounds start and finish at the same
point.

Many of the pieces in this book can either be Round

worked flat or in the round, but we generally
discuss it in terms of Rounds.

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 Step Up

To Step Up in peyote stitch, place your final

bead of the current round, pass through the
first bead from the previous round, and pass
through the first bead placed in the current
round. This bumps you up on top of the Regular Step Ups in
work, and puts you in position to begin the both flat and circular
next round. peyote stitch
Usually you will pass through the first single
bead added on the current round. If your
increase falls in a corner, or where you have
made an increase, you will pass through only
the first bead of however many you added.

You will note in the Simple Flat Square

(pg. 28) that you pass through the first bead
of the corner-placed triplet, and in a corner
increase, as shown at right, you pass through
into the middle of the two beads.

Skipping the Step Up

If you place the final bead of your round

and skip passing through the bead from
the previous round, and instead choose to
pass immediately through the first bead
placed in the current round, you will
transform the work from circular to spiral.
Skipping the Step Up
Hidden Step Up

A step up can be difficult to see if it falls

where your bead count changes, such as a
decrease (see illustration at right). If you
need to step up in this situation, remember
that if the pair of beads was placed or passed
through in one move, they must be treated as
a single entity for the step up, and you will
need to pass through both beads to finish
the round. Hidden Step Up

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 Basics: Sizing & Closures

Bangle sizers and mandrels come in very handy

when measuring beadwork, but frankly, even with
our combined century of beading experience, sizing
3-d work is still a matter of chance. You must
experiment, and test your bead combinations.
Sizing
Sizing beadwork is an art. Each bead or type of bead is unique, and the
bead finish drastically affects its girth. People’s working tension varies
widely; and loose or tight work can mean the difference of an entire size.

Our best advice to you is:

• Work snugly. Don’t leave any loose thread, or space between beads. Pull
your thread in closely after every stitch, and control your beadwork so that
it isn’t loose in your hand. Tighter work is more predictable.

• Get a real bangle sizer. What this can measure is not just the beadwork,
but what your hand can wiggle into. You can find them in some bead
shops, or online. See our online resources section for tips on where to find
one, or search the web for “metal bracelet sizer” or “bangle sizer”.

• Be flexible. If you make a ring that is slightly bigger or smaller than hoped,
you likely have something close to ten fingers, and happily you probably
have friends with fingers too. If you happen to make a Zigged Band (pg.
42) that turns out to be too small for your hand, make it into a knockout
MRAW Flower (pg. 161). Experiment by making maquettes like rings.

• Try other beads. If you are locked into a size range, like the number of
Points in a Helix, and you need it half a Point bigger, add in a coated bead.
If it’s just a snitch too big, perhaps a matte bead would have been just
enough smaller...

• Make Removable Bellybands. Especially a Zigged One. Once you nail your
size, you can make as many bangles off of the Band as you want. Make
them in several sizes, and amaze your friends.

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 Closures
You’ll see a wide variety of closures on the pieces in our book, from none
(bangles or memory wire) to handmade, like those shown in action below.

The most important things to consider when choosing clasps are weight and
points of attachment. Heavy clasps pull down to the bottom of your wrist,
and that may or may not work for your design. Think of your clasp as one
of the elements of (and a reflection on) your work. All points of connection
should be gentle, with smooth metal edges and spacious rings. If you sew to
metal rings, you might connect your work to them with bead-covered loops
large enough to let their rings move freely.

Our favorite clasps are those that work with the beadwork, like hidden snaps,
sewn not into the bead holes but into the network of thread connecting them.
See Deb Bednarek’s lovely tailoring on her Helix Bracelet (pg. 197) for an
example of a combination of an inner snap and a button and loop.

Beaded toggles are lovely, but must be well-crafted to stand the extra wear.
We love Tiena Habing’s square toggle bar on her Ocular Chain (pg. 37).

Below, right: Beadwork by Kate McKinnon, clasps by Kate (fine silver, the
Lovely Bone) and Stephanie Price (copper, the Walker Clasp). These clasps are
removable, and slide into slender tubes sewn into the ends of the beadwork.
See our companion eBook for a tutorial on making them, or our web site,
www.ContemporaryGeometricBeadwork.com, for places to purchase them.

Left: Tetrahedrons connected to metal

rings with freely-moving loops, by Christina
Vandervlist. See pg. 86 for the pattern.

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 Basics: Simple Flat Square

This shape is the base of the Pyramid Bangle (pg. 84). The basic pattern was
adapted by Cate Jones from those used previously by Julia Pretl and Diane
Fitzgerald, and it stays nice and flat unless you work it too tightly. The actual
size of 9 rounds, worked in 11° cylinder beads, is about 1/2” square.

Round 1: Join 4 beads into a circle, and pass through at least one to
secure your thread.

Round 2: Using circular peyote stitch, place 1 bead in each gap.

Round 3: Add 3 beads in each space (the middle of these three is

part of the “X” pattern you can see in the structure).

Round 4: Add 2 beads over the top of the centre bead of the triplets
placed in Round 3, and 1 bead in each side space.

Round 5: Point Round: peyote 1 bead in each space, including 1

between each corner pair.

Round 6: Fill Round: peyote 1 bead in each space.

Round 7: Peyote 1 bead in each side space and 3 in the corners.

Round 8: Peyote 1 bead in each side space as well as 2 beads in each

corner, over the centre bead of the triplet.

Round 9: Point Round: peyote 1 bead in each side space and 1 bead
between each pair in the corners. Continue repeating the
pattern until your Flat Square is the desired size.

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 Materials: medium weight beading thread (we used Nymo B)
1 g. 11° cylinder beads

Technique: circular peyote

Tension: soft to moderate

Difficulty: You can do it!

Although the most visually exciting Squares are probably those made with
block and line patterns, we think that it’s easier to learn circular beading if
every round is a different colour. This is especially true when the instructions
seem improbable, as in this pattern, which tells you to put three beads on each
corner, and then stack two beads on top of those. It sounds absurd, we know,
but look how easy it is to see when drawn in alternate-colour rounds.

The style and size of bead that you use will drastically affect the look, feel and
behavior of your Squares. Each of these takes only a few minutes to make, so it’s
a perfect project to explore size and finish combinations. See Francesca Walton’s
mixed-bead squares on pg. 33 for inspiration.

Rounds
1-4

5-7

8-9

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 Basics: Warped Square

This square will warp almost right away, and can be used to build fantastic shapes
like Jean Power’s Geometric Stars, and Phyllis Dintenfass’s Tetraphyls, both shown on
the opposite page. Bead this one tightly!

Round 1 Join 4 beads into a circle, and pass through the first bead strung
to secure your thread.

Round 2: Using circular peyote stitch, place two beads in each corner.
These will form the herringbone rib increases of your Square.

Round 3
to end: Peyote a bead in each gap, and continue to add two beads at each
corner. Repeat until the square is the desired size, and finish with
a Point Round if desired.

A Point Round is one bead in every space,

transforming corners into points.

If you are making a form that you plan to begin

decreasing, your Point Round will generally be
followed by a Fill Round, in which you again
add only one bead per space.

See Decreasing a Triangle into a Puff (pg. 58)

for more on this.

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 Jean Power

Warped Squares can be used as pattern

pieces to build other shapes. Jean Power
zips five of them together to make her
glorious Geometric Star puffs, above, by
Jean, and right, by Dana Steen Witker.
See Jean’s pattern in her beautiful book,
Jean Power’s Geometric Beadwork, 2012.

Phyllis Dintenfass connected five Warped

Squares end-to-end to make her Tetraphyls
bracelet below, and strung 58 of them on
cord for the elegantly graduated chain of
colour on the following page.

Phyllis Dintenfass

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 Phyllis Dintenfass

“Colour! What a deep and mysterious language,

the language of dreams.”

Paul Gauguin

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 Francesca Walton
Francesca uses different bead sizes and shapes in her
patterns and makes several different kinds of squares. The
little spaceships excited us hugely, and we all wanted to
make her Axe of the Warrior Goddess earrings, above.

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 A view of the transition from outdoor to indoor space in John Lautner’s astonishing
Sheats-Goldstein house in Los Angeles. Photo Woolf Haxton, www.thevhf.com

Spending an evening inside this house rewired

Kate’s brain, and Lautner’s influence can be seen
in each soar of a Wing and every improbable
extension of a Horn in this book.

The structure of the roof is a master study in

positive and negative space, and it seems both to
float and to be infinitely strong; at once massive
and delicate, built of heavy concrete and glass.
Lautner embedded heavy cocktail glasses in the
concrete to let in the light and sparkle, as we
might set crystals in a field of matte beads.

An interesting thing about this particular roof is

that it is clearly capable of carrying more, like the
Bands in our pieces. Restrained power is a design
element in itself, and we see it in Rayo Boursier’s
Horned Cuff (right).

It takes discipline to have a powerful structure,

and such potential, and yet not send the house or
the cuff winging off in every direction.

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 Basics: MRAW Bellybands

Buckminster Fuller said, when explaining his beautiful geodesic frame structures
to traditionalists, “To change something, make a new model that makes the
existing models obsolete.”

We don’t think we rendered anything obsolete with our beautiful Band, but we
definitely made some new things and thought some new thoughts by working
this way, and by thinking architecturally. Our Wings and Horns, our Rick-Rack
Bangles, our Fortunetellers, our Sea Monsters...our Tri-Wing Rings...all of these
and more are built on our fabulous Bellyband.

Practice this little marvel to make sure that you’ve got the thread path correct
(in this case, the Path is definitely the Power) and that you can make it snug and
tight. Experiment with the things we bypassed with this Band, and then see what
you can make or alter by adding our little powerhouse element.

Below, in her Horned Cuff, Rayo chose to repeat the Band throughout her piece
as a decorative element. This plays beautifully off of the concept of the structure,
and also, like Lautner’s leaded crystal circles in the concrete roof, the windows
left by her Bands bring light to her piece, and allow the beads that appear from
the outside to be metallic flat beige to glow like sunshine from the inside.

What more could we ask from enclosing space?

Opposite page: two

Tri-Wing Rings by Kate
McKinnon echo both
Lautner’s elegant roof
and Fuller’s geodesic
dome sections.

Right: a Horned Cuff by

Rayo Boursier. See this
piece also on pg. 94.

“Ideas rose in clouds;

I felt them collide until pairs
interlocked, making a stable
combination.”

Henri Poincaré

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 Basics: MRAW (Modified Right Angle Weave) Bellybands

The Bellyband (sometimes referred to simply as “The Band”) offers many

opportunities to build more structure from the starting point, as the RAW will
easily accept more rows of work, or support Guide Rounds, Helix Points, or
whatever you want to build on it. Not only did the Band lead us to Wings and
Horns, but it revealed itself as being a useful start for Geometric Rope like the
Power Puff Bangle, offering an easy zip with no unbeading required.

We want to be clear that “MRAW” is a thread path, not a different stitch.

The “M” for “Modified” refers only to the build of the Band- instead of making
a RAW band and going back into the work to place the first round of peyote,
our lovely thread path moves in only one direction (instead of the back and
forth looping of regular RAW) and places the first round of peyote in the first
pass of beadwork.

So, as you will see, the “MRAW” refers to the creation of the band, but after
that, in the beadwork, the Band is just a run of ordinary RAW, and the spacer
round becomes simply the first round of peyote.

Above: some neat Sixagons by Cath Thomas, built on an inner-band MRAW

start and a peyote outer closure, photo by Cath. She enjoyed the MRAW start
and was pleased to see that pieces like her Jalisco Bangle (pg. 214) could be made
more quickly and with more options with a Band than with a peyote start. She
was particularly interested in the concept of the Removable Band, which you can
see in action on the TinyHorn Bangle, pg. 114.

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 Above: a round of MRAW replaces the Point Round in a Power Puff Rope by
Eileen Montgomery.

Below: Tiena Habing’s stunning Ocular Chain. Each element begins with a quick
inner band MRAW start, and is finished on the outer edge with another MRAW
Band in a bright colour. Tiena connected her elements and made her toggle bar
with 3-D or Cubic RAW, which uses RAW for the sides, top and the bottom of a
form. Once you start playing with Right Angle Weave, you will find it to be very
architectural, useful for building or beginning almost any shape or form.

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 Basics: MRAW Bellybands

RAW (Right Angle Weave) Bellyband

To fully appreciate our nifty MRAW Bellyband, you need to make a regular
RAW band first, changing directions with each unit added, and then go back
into it to add a first peyote round. It makes us tired just thinking about it.
You can make this band flat (for a strap bracelet, for example) or join it into
a circle (for a bangle).

RAW uses 4-bead units. The first one is added in a group of four, the rest
in groups of three. To join the band into a circle, you will use two beads. We
used cylinder beads for our examples, but you can combine beads in these
bands with great effect.

Step 1: Pick up four beads, join them into a circle,

and pass back through the first two added to
secure the thread and prepare for the next add.

Step 2: Pick up three beads, and pass down through

the bead that you came down through to
begin the unit. Pass through the bottom bead
and the right hand bead to complete the unit
and prepare for the next add.

Step 3: Pick up three beads, and pass up through the

bead that you came up through to begin the
unit. See how you are changing directions
with each unit added?

Step 4: Repeat Step 2 and Step 3 to continue the

band to the desired length.

Step 5: Join the band into a circle (optional). To do

this, pick up one bead, pass through the first
bead of the first unit, pick up another bead,
and then pass through the last bead of the
last unit. Reinforce the join by passing
through more beads.

Step 6: Add one bead into each space in one of the

two Toothrows of RAW to add a first peyote
row or round.

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 MRAW (Modified Right Angle Weave) Bellyband
Our elegant MRAW Bellyband is a quicker path to the goal, with no change
of direction. In one pass of beadwork, you get a full RAW band and a spacer
row, which ends up to be your first round of peyote.

We strongly recommend using a different colour for your spacers, so that

you can see the structure. Pay attention to the thread path; it matters!
You should only pass through the spacer beads once, when you pick them
up with your needle. To complete the unit, bypass the spacer bead and pass
directly through the top bead of the unit. (See Step 2, below.)

Bypass the spacer bead in the same way each time for a smooth band.
We like to pass in front of the spacer bead, rather than behind it.

Step 1: Pick up four beads, join them into a circle, and

pass back through the first bead.

Step 2: Pick up a spacer bead and three RAW beads,

and, bypassing the spacer bead, pass through the
top RAW bead. You are in position for the
next add. Repeat until your Band is the desired
length. Each stitch will be the same.

Step 3: Join the Band into a circle (optional). Be sure

to go through enough beads after closure to
neatly secure the join (see detail below). You
are now at the same point as you were at the
RAW band after two rounds. Whee!

Step 4: Step up and continue your piece as desired.

Joining the MRAW Band

1 2

3 4

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 Basics: MRAW Bellybands

Double MRAW Bands

Sometimes a design will call for more
architecture, or more layers, and you will
want to make a double or triple MRAW
Bellyband for a base or central element.
Fig. 1
Round 1
Even a single MRAW Band offers many
options. In Fig. 1 (left) we numbered four
potential rounds of beadwork to build
on, two of which (the edges, 1 and 4)
are Toothrounds. A double Band (Fig. 2,
opposite page, top) will give you seven
rounds.

Please note that these numbers, 1-4, or

1-7, don’t relate to the construction of
the Band, which is (fabulously) only one
round of beadwork. We numbered them
only to show you where your options and
I-Beams are. As rounds can be built on
Round 2 both sides, even a single Bellyband gives
begun you a sturdy base for eight potential
layers of work.

Christina Vandervlist’s Triple Crown

Rick-Rack (opposite page, bottom)
was built on a double MRAW Zigged
Band (see next pages). She used three
of the potential seven base rounds to
make it.

The Helix Bangle (pgs. 196-209) uses a

double Band to hold its six rounds of
Points. Build your Bands strong and
Round 2, tight, and join them securely!
continued, first
spacer added.
And we’re off! Remember, the band isn’t really flat.
We just drew it that way to show it better,
It’s a ring, and the added layers grow out to
the sides or the top of it. In the Triple Crown
Rick-Rack at right, the band is sitting
contentedly at the bottom of the piece.

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 Our heads spin, thinking of the possibilities...
We’ve dreamed many more pieces on this
structure than we could stuff into Volume 1.
We can’t wait to show you!

Fig. 2 “The notion of infinity is our

Round 2 greatest friend, but it is also the greatest
joined
enemy of our peace of mind.”

James Pierpont

Maria Cristina Grifone

Double-Layer Fortuneteller
photo by Francesca Pavoni
(See also pg. 186.)

Christina Vandervlist
Triple Crown Rick-Rack

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 Basics: MRAW Bellybands

Zigged MRAW Bellyband

Our Zigged Band takes the fabulous up a notch by giving you a Rick-Rack
structure in only one pass of beadwork. (Really, a single trumpet should
blow on a hilltop whenever anyone reads that line. It’s that exciting to us!)
We do this by using our integral spacers (the “M” part of the MRAW) to
add the increases and decreases that form the classic zig-zag pattern.

Of course, you can always add increases and/or decreases later, or at any
point, but this start is a fabulous way to get immediate and architectural
results, and allows you to avoid the only alternative zig-zag start we know,
a foot-long worm of peyote.

Use a separate colour for the spacer round, so it’s easy to see what you are
making. We used cylinder beads for all of our MRAW Band examples,
but you can also use seed beads or combine bead types for elegant results.
You can leave the RAW grid showing in your work, as we do, or fill the
gaps with crystals or other embellishment. We like to see the structure, it
thrills us. Follow your star.

See the TinyHorn Bangle, pg. 114, to make a Removable Bellyband.

To make a Zigged Band, begin a regular MRAW Band (see pg. 39) but
instead of a spacer round of single beads, place increases and decreases in
regular increments around the Band.

Our example places them in every seventh spacer-space, and is the pattern
we used to make the Bands and the Rick-Rack on the opposite page.
Please see the Rick-Rack section, pgs. 136-155, and the Fortuneteller Bangle,
pgs. 164-195, for more ways to build on this excellent Zigged Band.

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 Round 1, joined.

Yes! This is only

one magical pass
of beadwork!

Round 2: only two

passes of beadwork

Below: a Double Rick-Rack

Bangle by Ann Rishell. See
page 140 for the pattern and
bead colour listing.

“Building art is a synthesis of

life in materialised form.

We should try to bring in under

the same hat not a splintered
way of thinking, but all in
harmony together.”

Alvar Aalto

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 Left: Triangle Earrings by Christina
Vandervlist. These lovelies are just
little Flat Peyote Triangles (pattern on
pg. 50) sewn to lengths of six-
bead peyote tube. It’s just as easy
to imagine them hung on bits of
chain, wire, or beading cable.

Below: Power Puff Bangle by

Suzanne Golden.

Opposite, top: Power Puff Bangle in

15° cylinder beads by Lia Melia

Opposite, bottom: Flat Peyote

Triangles by Kate McKinnon

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 Triangles

“The triangle is the only structure.

It holds the universe together.”

Buckminster Fuller

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 Flat Peyote Triangle

The clean fabric of peyote stitch is perfect for making geometric shapes,
and the addition of herringbone-style increases makes corners, wings
and folds, which allow you to build forms. Three of these increases placed
in flat circular peyote make a spoked triangle.

These simple, elegant shapes are fun to make, and are great little canvases
for swatching colours or testing patterns or bead finishes.

They make beautiful jewelry, and they are also the beginning of the Power
Puff and Caldera Bangles, which you are surely going to want to make as
well. How could you not?

Above: Wired-loop Triangle Bracelet by Jodie Marshall

Opposite page: Triangles by Kate McKinnon and Dustin Wedekind

Contemporary Geometric Beadwork by Kate McKinnon 47

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