This dazzling beaded necklace looks elaborate yet is easy to make. It’s the perfect complement to any special occasion outfit.

What You’ll Need

?3 gold bails, 7mm
?3 black facet pendants, 9 x 32mm
?6 gold eye pins, 2-inches long
?4 gold jump rings, 6mm
?85 black facet beads, 4mm
?79 gold facet beads, 4mm
?79 crystal facet beads, 4mm
?1 black facet bicone bead, 16 x 18mm
?10 black facet bicone beads, 10 x 13mm
?20 gold flower spacers, 8mm
?2 gold fluted endcaps, 7/8 x 1/2-inches
?1 necklace clasp
?64 inches waxed linen cord or beading cord
?Wire cutter
?Round-nose pliers
?Needle-nose pliers
?Scissors
?Craft glue
To Make Black Facet Necklaces:

1.Attach bails to pendants. Insert bail ends into pendant holes and gently squeeze to secure.

2.Pendant Dangles: Use wire cutter to trim 1/4-inch from end of 1 eye pin. Trim 1/2-inch from end of another eye pin. Use round-nose pliers to turn a small loop at the end of the 2 trimmed eye pins and at the end of 1 untrimmed eye pin. Use needle-nose pliers to open a jump ring. Slip bail of 1 pendant and eye of 1 eye pin on jump ring. Close jump ring with needle-nose pliers. Repeat with remaining 2 eye pins and pendants.

3.Beaded Eye Pin: Thread the following beads on an eye pin: 4mm black bead, flower spacer, 4mm black bead, 16 x 18mm bicone bead, 4mm black bead, flower spacer, and a 4mm black bead. Trim eye pin, leaving 1/4-inch from end of last bead. Turn a small loop at end of eye pin. Loop should be snug against last bead.

4.Open a jump ring. Thread 3 pendant dangles and beaded eye pin on jump ring to form the necklace pendant. Close jump ring. Cut two 32-inch pieces of waxed linen cord. Thread both cord pieces through the eye of necklace pendant and center on cord. Set aside two 4mm black beads. Mix together the remaining 4mm black, crystal, and gold beads to use in a random pattern for the necklace.Thread the following bead pattern on one half of necklace: On each strand of cord, string eleven 4mm beads. Then thread both strands through a flower spacer, a 10 x 13mm bicone bead, and another flower spacer. Repeat 3 more times. After bead pattern is complete, thread 14 more 4mm beads on each strand of cord. Thread both strands through a flower spacer and a 10 x 13mm bicone bead to complete one half of necklace.

5.Open the eye of 1 eye pin. Thread ends of both beaded strands (from completed half of necklace) through open eye and tie strand ends in a double knot. Secure knots with a dab of glue. Trim cord to about 1/8-inch from knots. Thread eye pin through a fluted endcap, making sure the bicone bead is snug against the wide end of endcap. Then thread a 4mm black bead on the eye pin. Trim eye pin, leaving 1/4-inch from end of last bead. Turn a loop at end of eye pin. Do not close loop yet. Thread eye of one half of necklace clasp on loop before closing it completely. Close loop, making sure it is snug against last bead.

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In my last blog, I talked about the roots of what can only be described as a lifelong beading adventure. Having been a beader off and on for about 15 years now (and having more money at some times than others to invest in my hobby), I have learned a few things about the do?s and don?ts of jewelry making. The following are a few tips and rules for those of you just starting out on your beading journey.

1. Always use high quality crimp beads. Whether you are using silver or gold, try to avoid anything plated or anything that is not tube-like in its appearance. The plated crimp beads are okay for making simple illusion necklaces, but are not sturdy enough to withstand the wear and tear of your beaded jewelry.

2. Do not sacrifice quality for price when it comes to beading wire. Although 49-strand wire may seem expensive, in the long run it will save you time, money, and frustration from having to recreate pieces that have fallen apart due to the use of less durable wire. And although Supplemax is a great product for creating illusion necklaces and woven pieces, it is not sturdy enough to hold strands of beads. Neither is Fireline. (I speak from my experience and the experience of others on this one!)

3. Use the most project appropriate findings and clasps possible in your pieces. It is embarrassing to admit but when I began making jewelry again, I used beading wire and crimped the bottom so it would act as headpin. Though this may seem creative, it was actually not very attractive or very sturdy. And clasps? Don?t even get me started! I used to buy my clasps in bulk and I used the same clasp on every piece of jewelry I made, whether it was delicate or bold and chunky. Now I cringe when I see those old pieces with those plain silver plate toggles. Also, when choosing a clasp, you will want to keep in mind what the finished piece will be. I generally use a lobster and chain at the back of necklaces (so the length is adjustable) and use toggles on bracelets (because they are sturdy, attractive, and easier to take on and off than a lobster clasp).

4. I would never say that you shouldn?t use inexpensive beads; plastic, glass, and base metal beads can make some great fashion jewelry pieces. What I would say is that you should never mix your less expensive beads with your more expensive beads. For example, I probably wouldn?t use Czech glass to create a necklace around a $30 sterling silver pendant. I also probably wouldn?t mix plastic beads with Swarovski crystal. The main reason for this is that you will ultimately devalue your finished piece. Remember: a person?s perceived value of a product is just as important as the actual value.

5. The best advice I can give is to learn, learn, and learn some more! I am a person who does not like to be taught by others. I don?t read instructions and I don?t learn from a classroom environment; I am more about being self-taught and experimentation. Some people, like Karla, find they do better when they have a trusty friend or magazine to help them learn a new technique or skill. However you learn best, learn as much as you can! Take classes, subscribe to beading magazines, look at free online jewelry projects, watch online videos. All of these things will teach you not only new techniques, but what kinds of tools and materials and resources you can use while you learn your new craft. And I believe one of the best things about this hobby is that you never stop learning!

You will get out of this hobby what you put into it and, whether you are selling your pieces or giving them as gifts or keeping them in your own jewelry gift, you want to make sure you are creating nothing but the best. Happy beading!

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This zebra design bicone is made using gravity as the primary “tool” for shaping the base bicone bead as well as creating the zebra design.

While this is not a complex bead to make, these instructions assume you already know how to make a bicone (or other cylindrical/barrel shaped) bead. Its use of gravity as the primary tool in shaping the design on the surface of the bead is well explained in Jim Kervin’s book, “The Classic Bead Shapes of Jim Smircich and His Amazing Control of Heat” published by GlassWear Studios, in his tutorial on Jim Smircich’s Wavy Bead.

Here is an example of a basic Wavy Bead created using gravity to create the “waves” in the the colored lines. The 6 lines of color were drawn straight across the already shaped black bicone, bead hole to bead hole, and evenly spaced around the bead. A focused flame combined with gravity were used at two points along the bead to make the “waves”.

Adding The Stripes

Using a white stringer (in this case, I used a premade stringer from Frantz Art Glass), stripes are drawn down the length of the bead; bead hole to bead hole. This varies from the traditional Wavy Bead in that they are not all perpendicular, nor are they necessarily evenly spaced around the bead. The specific design is up to you, but I suggest running some the full length of the bead, others only partially down the bead. Some lines should be perpendicular, but what really makes the zebra design somewhat “authentic” is the lines that meet another line at approximately a 45 degree angle or less, forming sort of a “Y” shape.

Remember, all stripes drawn are straight - no curves! I apply the stripes to the bicone a little differently than other stringer work. I hold the mandrel perpendicular to (and just to the left of) the flame. I start from the far end of the bicone and draw a fairly thick stripe toward me. If the stripe is to extend all the way from end to end, make sure you start and end the stripe at least at the “shoulder” of the bead hole, which is the point where the bead starts to round down into the “pucker” (another Jim Smircich “classic”). This will help keep the pattern all the way to the end of the bead, even after remarvering the ends.

Melting In The Stripes

Next, heat the stripes until they are fully melted into the bicone. The only thing to remember here is that you aren’t trying to modify the design just yet, simply melting in the stripes without losing your well-formed bicone. To do this, you do not want to get the bead yellow hot - you just want it heated enough to melt in the stripes without disturbing the core of the bead too much. You may need to remarver the ends, but it isn’t necessary to make it “perfect” at this point as you will do final shaping later. However, you always want to minimize the amount shaping required after you finish the design, as too much final shaping will likely alter the surface design.
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This condition accounts for about 50% of the cases in which we implant gold beads. Our cases ranged from 4 months to 17 years of age. Most dogs were large breeds, or dogs >50 pounds body weight. We have treated 2 Pekinese dogs for hip dysplasia. The size of the dog does not have a bearing on the success of the gold bead implant. Age does have the greatest effect on the success of gold bead implant. We break the age group into 3 classes. Under 7 years of age we have a 98% success rate. From 7 to 12 years of age we have about 80% success rate and from 12-17 years of age we have about 50% success rate. The number one cause for our failures in hip dysplasia is secondary degenerative myelopathy.

Degenerative myelopathy is considered by most experts to be a totally separate condition, but I have never seen it show up as a condition by itself. There has always been another concurrent problem. In my opinion, degenerative myelopathy begins as a localised alkalosis in the hip joint. In a small percentage of the dysplastic dogs, the localised alkalosis starts to involve the local nerves and eventually spreads to the spinal cord. The alkalosis of the cord eventually causes demyelination of the cord. At some point we are unable to reverse the alkalosis and demyelination of the cord. When this happens, there is a progressive, irreversible degenerative myelopathy and the dog cannot walk. The gold bead implant will reverse the degenerative myelopathy in about 50% of the cases. We are not able to look at these dogs before the implant and know which ones we can help. We cannot help dogs if they are unable to support their weight and the rear legs are basically reduced to skin and bone with very little muscle. If the dogs still have some muscling and can intermittently get up, we can help about 50% of them.

An apparent but temporary success may follow gold bead implantation in a small group of dogs with degenerative myelopathy. They seem to be good for 3-9 months, but then they deteriorate. All such dogs have been about 9 years old. I have spent much time on degenerative myelopathy, but this is a major problem in small-animal practice. Let it not deter you from doing gold bead implants.

When implanting gold bead for hip dysplasia, we begin with 4 basic points: GB29, BL54, GB30, and GB33. These points need treatment in all dysplastic dogs. Other points that need to be implanted fall into 3 Zones. Zone 1 is dorso-anterior to GB29. Zone 2 is dorso-anterior and dorso-posterior to BL54. Zone 3 is dorso-posterior to GB30. GB31 and GB32 are the main exceptions to the rule; they need to be treated in some dogs.

The next set of points to be implanted are in 1-2 of three Zones around the hips. These points usually are Ahshi / trigger points. Zone 3 needs treatment least frequently. One rarely must use all 3 Zones. To find the next point, draw a line midway between GB29 and BL54 and go dorsal 0.5-1.0 inch. If a point is sensitive, place gold beads into it (A). Then search for point tenderness midway between BL54 and GB30. Go dorsocaudal to this area 0.5-1.0 1 inch. Implant gold beads into any sensitive point there (B). If point (B) does not show up, then there usually are no more points in Zone 3.

Then search for two sensitive points ventral and dorsal to point (A). Go halfway between GB29 and point (A) and search anteroventrally. Place gold beads in any sensitive point found. If there are no more sensitive points, move halfway between point (A) and BL54 and search anterodorsally. Implant any sensitive points found there. Implantation of the hips is complete when one can find no more sensitive points in the area.

When implanting gold beads for hip dysplasia, both hips should be treated at the same session. However, a single hip can be implanted in special cases. For example, some dogs have one normal hip and one bad hip. The bad hip may look like a dysplastic hip, but such hips were usually have been traumatised by their dam shortly after the birth of the pups. In those cases, only the bad hip needs treatment. Traumatic injury of one hip that has resulted in a femoral head resection or a hip replacement surgery may need to be treated with gold bead implant similar to hip dysplasia.

When we treat hips with gold bead implants, we see mostly local effects, and very little systemic effect. GB29, GB30, and BL54 work locally on the joint and the other trigger points work mostly on the surrounding muscle.

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Knitting patterns are, for the most part, pretty straightforward. This article is designed to break down and define each section of a knitting pattern so you’ll know what information to expect in what section. Not all patterns follow these guidelines, but most do.

Usually the page will start off with a title and photo of the finished product. These are standard and self explanatory. Now on to the juicy stuff:

Skill Level Easy, Medium, Hard or Beginner, Intermediate, Advanced are examples of the information listed here. A quick glance here is how to tell if a pattern is within your skill level.

Here are a few examples of what kind of projects you might find in each skill level:

Easy/Beginner

You’ll probably find a lot of scarves here, as well as potholders, place mats, handbags, some afghans and even a few sweaters.

Medium/Intermediate

Stocking caps, cable knitted scarves and sweaters, afghans with alternating stitch patterns and most knitted tops fall under this skill level.

Hard/Advanced

Generally, if an item has a very intricate stitch pattern, it’s likely to be in the Hard category. Knitting pictures and designs would definitely be a more advanced undertaking, as would any type of knitting that requires a lot of shaping.

Sizes, Finished Measurements
Generally the main size is listed in normal font with all other sizes in parentheses. Example: S(M, L). When you read the knitting instructions further down in the pattern, the first set will apply to the main size, with adjusted instructions for other sizes in parentheses. Also in this section you should see total finished measurements for this project.

Materials
Any thorough pattern will list in detail what materials you’ll need to complete the project.

-Yarn: Since yarn weights vary by type, look for patterns listing yarn in length, that way you can substitute a yarn and still know how much to get. -Needle Size: You should find information on the needles and needle sizes used to complete this pattern. -Miscellaneous Supplies: If you need stitch markers, cable needles or any other miscellaneous supplies, the pattern should list these here as well.

Gauge
The gauge section should read something like this: 10 sts + 10 rows = 4″ in Stockinette. This information is what you’ll use to check your gauge.

Pattern
This is where the actual knitting begins. The pattern tells you what stitches to use in what sequence to create the project named at the top of the page. A complete pattern will also include a list of the abbreviations used, but in some cases, it’s assumed everyone knows what those abbreviations mean. Even advanced knitters have trouble with this sometimes.

Some Important Points to Remember

When following any pattern, it is imperative that you: -Test your gauge before starting. There’s nothing worse than getting an hour into a project to find it’s 6 inches too narrow because your yarn is a smaller weight than the pattern calls for. -Buy all the yarn for the project at the same time. Dyed yarns have “dye lots” and it’s important to get all of your yarn for one project from the same dye lot. If you don’t, you have a good chance of getting different shades of the same color throughout yourknitting. -Take a break if you’re frustrated, as you’re sure to be at some point. Knitting is a fun and relaxing hobby, don’t let it turn into a chore to get that afghan or poncho finished!

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I love to find new uses for household and personal care products. Something in my personality is gratified by using double-duty items; my clothes are all separates, I re-use just about every jar, coffee can and old box, and recycle everything I can. So, of course, I’m especially happy when I find a product that will do double duty; such as this product created for hair that gets all frizzy in humid weather when you want it to lay straight and glossy. It’s called Biosilk Silk Therapy and is manufactured by the Farouk Systems, Inc. located in Houston, Texas, U.S.A.

I actually received my first bottle of this product so long ago, it was actually really inexpensive; something like $2bottle. Not, it is considerably more expensive, but they have refined the formula and it works better than ever on face, nose, ears, and lips. I’ve even used it to blow-dry my hair; a rare event, and never terribly successful, but one I still practice every so often just to keep up with being all girly.

I still can’t remember how I connected the idea of using this product on plastic beads, but I must have overheard something about some tire product containing silicone and retained it in my own peculiar, odd mix of a filing cabinet of memories.

I had purchased these very cool vintage beads made of black plastic and set with rhinestones. These beads looked as though they had once been gorgeous but, over time, had become scuffed and looked a bit “underloved” when they should look as if they had been long enjoyed, worn, passed down and while nowhere near “perfect” vintage, then at least “cared-for though used extensively” vintage. That’s my favorite kind of vintage; vintage with a story, vintage that has had a life. It has been worn by the various owners over the years, it has been loved, well cared for, enjoyed, maybe had an accident or two, gotten scuffed and dull over the years, has a few scars, but is still just as beautiful.

These beads needed a bit of the attention they had not received prior to becoming my beads, and would need to soon be worked into a piece of jewelry to be worn, loved, tossed around a little bit, maybe nabbed by the cat once or twice when he was collecting shiny things, as he does occasionally, and generally been allowed to live. So, I thought of the method I use to clean glass beads, grabbed the window cleaner, gave them a spritz and - yep, they turned a sort of white/gray and horrible looking. Washing, soaking, and a final, desperate scrubbing did noting but add that faux “worn vintage” look I had so wanted, but still they were discolored. I put them away in a drawer, sad but not yet out of hope.

A few days later, I received a shipment of sample beads from a favorite bead seller, the unspeakably cool resin beads from Natural Touch Resin Beads makes of the most gorgeous resin beads I’ve ever looked upon.

Naturally, having been shipped, imported, prepared for various shows, shown at shows indoors and out, some of these beads had become a bit grimy, in need of a good soapy bath. So, I drew a sink full of very hot water, added soap, then the beads, then walked off for about an hour to do something else.

I was sure that my resin beads were goners. they were goners. All of them, strands of resin beads, beautiful, fabulous, handmade resin beads, all that beauty, a dull whitish sort of cast, with almost no color remaining.

I had also pulled out some of those little glass globs - the type that are used in flower arrangements or in some stained glass projects - that looked like they had been tumbled to give them a matte finish. It looked like they were covered in some kind of dust, completely obscuring the color of the globs. When they were wet, I could see that these globs had a blend of clear and purple glass and were very cool looking, but I had to do something about the powdery finish that made the glass almost occluded. So, I applied the Biosilk, and what do you know - gorgeous! Still matte, but with a sheen, so that the colors inside the globs is visible.

Of course, I know that the application of oil or grease-based products will do the same thing to glass or plastic that has surface irregularities that give it a dull appearance, but I don’t care to use oil or grease on beads. It not only attracts dust and dirt, but it rubs off on clothing, smears, and, in some cases, can even go rancid, making the beads smell awful. The Biosilk product does none of that. Once I put it on the beads, it seem to soak in/ A bit of buffing removes any leftover product from the immediate surface, so it will not transfer to fabric or skin. It does not attract dirt and has, so far, not “turned” or gone bad, I and I first used it on plastic beads about five years ago.

I cannot say for sure that Biosilk is perfect for every bead made. I’m not even sure which ingredient makes the glass and plastic/resin look good, since I’m not a chemist. I do know that, unlike some silicone-based products, it does not seem to alter the plastic or dissolve it, making it gooey or sticky; it just seems to moisturize the beads, giving them a nice sheen.

Try it yourself. Pick up a small bottle, pull out few matte glass or scuffed plastic or resin beads, and give them a wipe. I bet you’ll be pleased with the results.

You can purchase Biosilk in 2 oz. bottles which, if you’re using it strictly for beads and not for hair, should last a good long time. I’ve had my bottle (the 5.64 oz. size) for well over a year, using it for hair, mostly, and have used less than an ounce. You only need a tiny bit of this cool product to rejuvenate your old plastic and resin beads. There are other products much like it. I can’t vouchsafe them, as the only one I’ve tried is the Biosilk, however, since the ingredients are basically the same I’m sure the others would work as well.

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