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BASICS OF BEAD STRINGING AND ATTACHING CLASPS: Silk Wrap

Posted by learntobead on March 2, 2023

Take advantage of my online video tutorials, including BASICS OF BEAD STRINGING AND ATTACHING CLASPS.

ONLINE VIDEO TUTORIAL COURSES
and their PREVIEWS:

Orientation To Beads & Jewelry Findings
So You Want To Do Craft Shows…
Pricing and Selling Your Jewelry
Naming Your Business
The Jewelry Designer’s Approach To Color
Basics of Bead Stringing and Attaching Clasps
Pearl Knotting… Warren’s Way

TOOLS AND MATERIALS FOR SILK WRAP

Materials needed:

2 one-foot lengths of thicker cord, like 1–2mm leather or waxed cotton
3 ft of bead cord, about .5–1.0mm thick

Tools needed:

Clip board or bulldog clip
Bic lighter or thread zapper
Glue like G-S Hypo Fabric Cement or Beacon 527 or E6000
Chain nose pliers

SILK WRAP

Sometimes, the ends of your pieces are messy. There may be a lot of knots there. Or glue. Or something else you would like to hide.

You might use one of the jewelry findings called ends to hide and cover this messiness up.

Or you might do what is called a silk wrap, and use a cord to coil over the mess, and make the ends look pretty.

Silk wraps result in a very finished, professional look.

The silk wrap will also provide some extra support there, if you think the ends of your pieces might be weak points of vulnerability, or, you want to make the clasp assembly easier to open and close.

I want to review how to make a 10-coil silk wrap.

NOTE: 10-coil is a good goal, but it can be more or less, depending on how it looks visually, and the actual volume of the space needed to be wrapped.

I am going to make a silk wrap for a 2-strand necklace strung on leather cord.

Where the two cords come together at each end, I have attached my clasp, and, in addition, I have bound the two leather cords together with some thread tied into a bunch of knots. I have put a drop of glue there.

I am going to use some size #18 bead cord, which is a .5mm thick, choosing a bead cord in a complimentary color to the leather, and make a silk wrap to hide the threads, knots and glue.

I start with a 10” — 12” piece of size #18 bead cord.

Step 1:

Make a loop towards one end, leaving a short tail off this loop (about 1 ½”).

This gives you a loop, a short tail and a long tail.

Step 2:

Lay the loop over the 2 leather legs, about 1” from the end of the leather cords where the clasp is attached.

The short tail is the shorter tail off the loop. The short tail should extend past the position where the clasp is connected to the two leather cords.

We are going to call the rest of the 10” silk wrap cord the long tail.

So, the short tail should lay next to and side-by-side with the leather stringing cord along its outer or top surface.

The long tail will run along the bottom surface of our stringing cord.

The end of the long tail is closest to the end of the stringing cord
and the clasp.

Step 3:

We are going to use the long tail to make 10 coils around our 2 leather stringing cords, starting from the clasp end, and working towards the loop we have created with our silk wrap cord.

Your long tail should be below the two leather cords. We are going to coil clockwise.

NOTE: If it is more comfortable, you can coil counter-clockwise.

We want to end up with the coils tightly bumped up against each other, with no gaps between them.

Again, our first coil is closest to our clasp. And we are moving away from the clasp towards the loop end.

So, to begin, let’s make that first coil. Take the long tail, go up, over and around the short tail.

Continue going behind both leather stringing cords, and back down below the leather stringing cords.

Making this first coil wrap is the most difficult. At about the 3rd coil, you can gain a lot of management control, tightening the first three coils, and then continuing to add additional coils.

As you continue making coils, keep the tension tight on your long tail as you do the coiling, so that the coils do not loosen up and unravel.

Step 4:

Make the rest of the coils.

Continue wrapping the long tail around the short tail and the 2 leather stringing cords,
headed away from the clasp end.

Make about 10 coil wraps.

Again, be sure the coils are tight.

Compress them (which means close the gaps between any two coils) together with your fingers or use a chain nose pliers to slide along the leather stringing cords and bump up against the coils.

Step 5:

Clamp everything tight between your fingers.

Bring the long tail through the loop, going from front to back, or top to bottom, depending on how you are holding your piece.

Step 6:

We are going to create a knot.

Hold onto the long tail, and pull on the short tail. It might be easier for you to pull the long tail away from you and the short tail towards you.

Keep pulling on the short tail. You want to pull the loop inside the coil wraps,
but not yet all the way.

Bring the loop just under that first coil.

Step 7:

Put a drop of glue, preferably G-S Hypo Fabric Cement, where the loop and long tail connect right at that first coil wrap.

Step 8:

Using your fingers or a chain nose pliers, pull on the short tail and pull the loop all the way into the coil wraps,

To finish off our knot.

Step 9:

Cut the tails.

In this demonstration, I’ve used a nylon cord. I can hold the ends of the trimmed tails near a flame, like from a bic lighter or thread zapper, and melt the ends.

With other materials, I would use a drop of glue on each trimmed tail end. Preferably G-S- Hypo Fabric Cement.

_______________________________

Thank you. I hope you found this article useful.

Also, check out my website (www.warrenfeldjewelry.com).

Enroll in my jewelry design and business of craft Video Tutorials online. Begin with my ORIENTATION TO BEADS & JEWELRY FINDINGS COURSE.

Follow my articles on Medium.com.

Subscribe to my Learn To Bead blog (https://blog.landofodds.com).

Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies.

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

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Other Articles of Interest by Warren Feld:

What You Need To Know When Preparing A Portfolio

Smart Advice When Preparing Your Artist Statement

Design Debt: How Much Do You Have?

An Advertising Primer For Jewelry Designers

Selling Your Jewelry In Galleries: Some Strategic Pointers

Building Your Brand: What Every Jewelry Designer Needs To Know

Social Media Marketing For The Jewelry Designer

Often Unexpected, Always Exciting: Your First Jewelry Sale

Coming Out As A Jewelry Artist

Is Your Jewelry Fashion, Style, Taste, Art or Design?

Saying Goodbye To Your Jewelry: A Rite Of Passage

So You Want To Do Craft Shows: Lesson 7: Setting Up For Success

The Jewelry Designer’s Orientation To Metals, Metal Beads, Oxidizing

The Jewelry Designer’s Approach To Color

The Jewelry Designer’s Orientation To Stringing Materials

Shared Understandings: The Conversation Embedded Within Design

How Does Being Passionate Make You A Better Designer?

Doubt / Self-Doubt: 8 Major Pitfalls For Jewelry Designers

Essential Questions For Jewelry Designers: 1 — Is What I Do Craft, Art or Design?

The Bridesmaids’ Bracelets

The Jewelry Designer’s Orientation To Choosing And Using Clasps

Beads and Race

Contemporary Jewelry Is Not A ‘Look’ — It’s A Way Of Thinking

Point, Line, Plane, Shape, Form and Theme

Jewelry, Sex and Sexuality

5 Tell-Tale Signs Your Pearls Need Re-Stringing

MiniLesson: How To Crimp

MiniLesson: Making Stretchy Bracelets

Architectural Basics Of Jewelry Design

Cleaning Sterling Silver Jewelry: What Works

What Glue Should I Use When Making Jewelry?

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CONQUERING THE CREATIVE MARKETPLACE: Between the Fickleness of Business and the Pursuit of Design

How dreams are made
between the fickleness of business
and the pursuit of jewelry design

This guidebook is a must-have for anyone serious about making money selling jewelry. I focus on straightforward, workable strategies for integrating business practices with the creative design process. These strategies make balancing your creative self with your productive self easier and more fluid.

Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I address what should be some of your key concerns and uncertainties. I help you plan your road map.

Whether you are a hobbyist or a self-supporting business, success as a jewelry designer involves many things to think about, know and do. I share with you the kinds of things it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you, including

· Getting Started: Naming business, identifying resources, protecting intellectual property

· Financial Management: basic accounting, break even analysis, understanding risk-reward-return on investment, inventory management

· Product Development: identifying target market, specifying product attributes, developing jewelry line, production, distribution, pricing, launching

· Marketing, Promoting, Branding: competitor analysis, developing message, establishing emotional connections to your products, social media marketing

· Selling: linking product to buyer among many venues, such as store, department store, online, trunk show, home show, trade show, sales reps and showrooms, catalogs, TV shopping, galleries, advertising, cold calling, making the pitch

· Resiliency: building business, professional and psychological resiliency

· Professional Responsibilities: preparing artist statement, portfolio, look book, resume, biographical sketch, profile, FAQ, self-care

548pp.

KindlePrintEpub

SO YOU WANT TO BE A JEWELRY DESIGNER
Merging Your Voice With Form

So You Want To Be A Jewelry Designer reinterprets how to apply techniques and modify art theories from the Jewelry Designer’s perspective. To go beyond craft, the jewelry designer needs to become literate in this discipline called Jewelry Design. Literacy means understanding how to answer the question: Why do some pieces of jewelry draw your attention, and others do not? How to develop the authentic, creative self, someone who is fluent, flexible and original. How to gain the necessary design skills and be able to apply them, whether the situation is familiar or not.

588pp, many images and diagrams Ebook , Kindle or Print formats

The Jewelry Journey Podcast
“Building Jewelry That Works: Why Jewelry Design Is Like Architecture”
Podcast, Part 1
Podcast, Part 2

PEARL KNOTTING…Warren’s Way
Easy. Simple. No tools. Anyone Can Do!

I developed a nontraditional technique which does not use tools because I found tools get in the way of tying good and well-positioned knots. I decided to bring two cords through the bead to minimize any negative effects resulting from the pearl rotating around the cord. I only have you glue one knot in the piece. I use a simple overhand knot which is easily centered. I developed a rule for choosing the thickness of your bead cord. I lay out different steps for starting and ending a piece, based on how you want to attach the piece to your clasp assembly.

184pp, many images and diagrams EbookKindle or Print

SO YOU WANT TO DO CRAFT SHOWS:16 Lessons I Learned Doing Craft Shows

In this book, I discuss 16 lessons I learned, Including How To (1) Find, Evaluate and Select Craft Shows Right for You, (2) Determine a Set of Realistic Goals, (3) Compute a Simple Break-Even Analysis, (4) Develop Your Applications and Apply in the Smartest Ways, (5) Understand How Much Inventory to Bring, (6) Set Up and Present Both Yourself and Your Wares, (7) Best Promote and Operate Your Craft Show Business before, during and after the show.

198pp, many images and diagrams, EbookKindle or Print

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Posted in architecture, Art or Craft?, bead stringing, bead weaving, beads, beadwork, craft shows, creativity, design management, design theory, design thinking, jewelry collecting, jewelry design, jewelry making, Learn To Bead, pearl knotting, Stitch 'n Bitch, wire and metal | Tagged: , , | Leave a Comment »

New Beading Competition Announced

Posted by learntobead on September 3, 2009

The Illustrative Beader:
Beaded Tapestry Competition
Deadline 8/31/2011
Download Official Rules

by Land of Odds, Be Dazzled Beads, The Open Window Gallery, and The Center for Beadwork & Jewelry Arts

CALL FOR ENTRIES
The Illustrative Beader:
Beaded Tapestry Competition
Create a Beaded Tapestry by manipulating beads, cloth and fibers into an imaginative detailed, tactile and visual representation of this year’s theme:Mystery Genre Book Covers .

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And then write a short Artist Statement (between 1000-2000 words) about the general story-line of the book which the cover represents, how you made choices about what things to include on your cover, the materials and techniques you used in creating your book cover tapestry, and your strategies for adding a sense of dimensionality to the book cover tapestry.

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The First Bi-Annual 2011 THE ILLUSTRATIVE BEADER: BEADED TAPESTRY COMPETITION is offering a first prize of a $1000.00 shopping spree on the Land of Odds web-site (www.landofodds.com), and a Runner-Up prize of a $400.00 shopping spree on the web-site.

 

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Here we use the concept of “Tapestry” in its broadest sense as a stitched, sewn and/or woven wall hanging. Your tapestry may be woven, loomed, stitched, quilted, cross-stitched, crocheted, knitted, sewn, braided, knotted, embroidered, macramed, beaded and the like. Your tapestry will combine fibers/threads/and/or cloth and beads in some way, and must consist of at least 70% beads. Beads may form the background canvas of your piece, and/or may be used to embellish your canvas, and/or as fringe, and/or as stitchery covering parts of your piece. Your piece should be mounted or framed in some way, ready for hanging on a wall. Your tapestry may utilize many different techniques. In addition, as a “Mystery Genre Book Cover”, your Beaded Tapestry should woo and entice the viewer to want open that cover and read the book!

 

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Entries will be judged by a panel from The Center for Beadwork & Jewelry Arts. These distinguished Beadwork and Jewelry Artist instructors will judge each beaded tapestry based on

 
1. INSIGHT: The Artist’s inner awareness and powers of self-expression through needle arts and stitchery, fiber arts and beadwork, particularly in terms of how well this year’s Competition theme is incorporated into the piece.
2. TECHNIQUE(S):
a. The range of techniques employed within the piece, and how these are combined and executed.
b. The degree the Artist is successfully able to incorporate 3-Dimensional elements and give depth to the finished piece — layering, embellishment, embroidery, movement, optical effects, color tricks, shapes, textures, patterns, and other structures
c. The strategic and parisomonious placement of visual elements throughout the piece
d. The details — how creatively, strategically, and to what extent story details are presented within the Tapestry
3. USE OF BEADS/BEADING AS ARTISTIC MEDIUM: To what extent the Beaded Tapestry may be viewed as a work of “art”, rather than “craft”; has the Artist fully utilized the power of the “bead” as a medium for art — an expression of color, light, shadow, tactile sense and emotion
4. VISUAL APPEAL: The overall visual appeal of the Beaded Tapestry, and how well it tells a story and seems to grab the Viewer’s attention and motivate the Viewer to want to, in this year’s case, read the book.
5. QUALITY OF WRITTEN ARTIST STATEMENT: How well the Artist’s write-up enhances an appreciation of the Beaded Tapestry, how it captures the theme, as well as the Artist’s talents in design, insight and implementation.

 

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REQUIREMENTS

A. Length and Width: The Beaded Tapestry may be oriented vertically or horizontally. One dimensional leg should be shorter than the other, but no shorter than 8″. The other dimensional leg should be longer than the other, but no longer than 25″. The relative lengths of the shorter and longer dimensions should approximate The Golden Ratio where the longer side is 1.60 times the length of the shorter side (L=1.6*S). Thus, the smallest possible piece would be approximately 8″x13″, and the largest possible piece would be approximately 16″x25″.

B. Backing and Framing: The Beaded Tapestry should be afixed to a secure backing, from which to attach a hanging mechanism, and which is secure enough to support the Tapestry, as it hangs on a wall. This can be as simple as using a piece of foam core or wood panel, or can be more elaborate. The piece may be supported with a frame, and a paper or cloth backing. Any backing/framing/matting will not be counted in the measurement rules and limitations. Thus, if the Beaded Tapestry were 16″x25″, and a frame and matte resulted in a finished piece that was 20″x29″, that would be OK. If the Tapestry is meant to hang like a curtain on a rod, using backing would be optional, depending on whether the backing will help or hinder your piece.

C. Hanging Mechanism: The Beaded Tapestry should have all the mechanical attachments affixed to the backing/frame that allow it to be hung. This might be picture wire strung across the back, or a picture hook, or a dowel that slides through the piece at the top like a curtain.

D. The Tapestry Canvas: The Beaded Tapestry will work off a canvas of some sort. What this canvas is and how it is created, would be up to the Artist. The canvas might be loomed (or stitched in some way) with threads, other fibers, cloth, or beads, or might be a stretched cloth, or might be some kind of surface (or webbing, netting or string-curtain) off of which to work your Tapestry, like bead embroidery off of ultra-suede.

E. The “Cartoon”: The cartoon is the designed image/sketch for your piece. This image should be original, and not have been submitted to any other contests or competitions. The judges are especially interested in how you transfer your cartoon to your tapestry, how you incorporate details, and how you bring dimensionality to your piece. The cartoon, thus final Tapestry as well, must include the Title of your chosen book.

F. The Use of Beads and Fibers: Beads must comprise at least 70% of the the surface of your Beaded Tapestry. A bead is an object with a hole in it. It may be applied to the Tapestry with stitching or sewing. It may be glued. It may be wired. It may be encapsulated. Your final Tapestry may be done with 100% beads, or with a mix of beads and fibers. The judges are especially interested in seeing a mix of techniques within your piece.

G. Relating Your Tapestry To This Year’s Competition Theme – Mystery Genre Book Covers

 

1. Based on a real book: Your Book Cover must relate to a real, published book.
2. Interpretation of Cover Design must be your own. While it’s logical that you might use elements from an existing cover, it must NOT be a copy of the book’s existing cover.
3. The Title of the Book must be incorporated into your Tapestry design
4. Your Artist statement should reference the book’s title, author, publishing company, and date of publication.
5. “Mystery Genre” refers to fictional and non-fictional books which deal with the solving of a crime.

 
H. The Artist’s Statement: Write a short Artist Statement (between 1000-2000 words), covering the following topics:

 

1. List the Title of your book, the author, the publishing company, and date of publication.
2. A synopsis of the general story-line of your book. Tell us the story progression. Highlight key characters including the hero or heroine, the victim, clues, mysteries, double-entendres, the murder weapon, the solution/resolution and the like.
3. Why did you choose this book?
4. How did the story-line influence you in your book cover design choices? What details did you decide to highlight on the tapestry? What details in the story line did you decide Not to highlight on the tapestry?
5. What materials did you use to create your book cover tapestry, backing and framing, hanging mechanism, canvas?
6. How did you transfer your Cartoon sketch to your finished Tapestry?
7 . What techniques did you use in creating your book cover tapestry
8 . What were your strategies for creating the Title on the tapestry — fonts, sizes, materials, placement/positioning?
9 . What were your strategies for adding a sense of dimensionality to your book cover tapestry?

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I. Your Book Cover Tapestry may be done either as an individual or as a collaboration. If a collaboration, please list all the “collaborators” with your submission. Identify one person of the group to be the lead and contact person.

 

 

We Need Submissions!

A Tapestry is a form of textile art, traditionally woven on a vertical loom, and composed of two sets of interlaced threads. Threads running parallel to the piece create the tension. Threads running back and across along the width create the pattern or image. It is these threads which show in the traditional tapestry. Tapestries were very portable. They could also be draped on the walls of castles for insulation during winter. They could be hung as decorative interior elements and displays of wealth. The “Cartoon” — that is, the design image — ranged from the purely decorative to tales of heroicism, mysticism, or religiosity. Often, to make these loomed pieces feel more 3-dimensional, they were embellished with beads, pieces of glass, and pieces of mirrored glass, which would create fascinating interplays with light. The beads might be used to create border fringes, or might be sewn into or embroidered onto the tapestries themselves.

In our The Illustrative Beader: Beaded Tapestry Competition, we define the idea of a “Tapestry” very broadly, to include any stitched, sewn and/or woven wall hanging which combines some kind of fiber and beads. Fiber might consist only of the threads used to stitch the beads, or it might include quilted materials, yarn, cord, of anything that might broadly be called Fiber. The Tapestry might be loomed with fibers and embellished with beads. It might be loomed with all beads. The Tapestry does not necessarily have to be loomed in the traditional sense. It might also be knitted and embellished with beads, or quilted or cross-stitched or crocheted or braided and somehow combined with beads. The Tapestry canvas might begin with stretched, appliqued, or quilted cloth. The surface area of the finished Tapestry must be 70% made from beads.

 

 

THE ILLUSTRATIVE BEADER: BEADED TAPESTRY COMPETITION: is more than a beauty pageant. It is a design competition. The Competition will take into account the Artist’s intentions and how well these are incorporated into the theme, the design, the materials, the use of techniques, the use of details and elements which create dimensionality.

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