CHAPTER 8: BEADS

The work in this chapter explores various effects which can be achieved using a wide variety of beads and application methods. I found it most enjoyable and had a lot of fun, starting with the collecting of various types of beads and then experimenting with different designs and techniques.

a) Beaded Sampler
This sampler was worked on hand dyed silk, divided into 20 squares each about 5cm X 5cm (4 squares across, 5 down). The silk was mounted on a backing fabric and held in a frame for beading. In the text below, when I refer to various squares I will number them from the top by row and then count across from the left.



In some squares I tried to work with the spiral theme, using the beads in various ways to form linear patterns (e.g. in row 1, squares 2 & 3, I applied bugle beads side by side and end to end, to give different effects). In row 2, square 1, I tried a design a bit like some of the Greek meander mosaics, using square spangles and in row 2, squares 2 & 3 I used rocaille or seed beads applied in 2 different ways.

I like being able to depict specific shapes like this, but working these samples made me realise just how precise the placement of every bead needs to be to obtain a high quality result. Looking at mine, the main thing that can be said is: Needs More Practice!

Having looked at the use of beading in haute couture, I was interested to do one or two samples where beads were applied to lace. Row 3, rectangle 2, shows some delicate beading I applied to some fine antique lace given to me by a friend, Cheryl Martin. In this sample I tried to enhance the lace with translucent sequins, pearls and seed beads, but not overwhelm it. A different approach was used for the coarser piece of old tatting in row 5, square 2, where I applied some painted shells in a more "fun" style.


Larger beads and irregularly shaped beads can give some wonderful effects if clustered together, often mixing different shapes colours and sizes (see for example Row 2, square 4 and Row 4, square 1. Irregularly shaped beads can be a bit tricky to stitch down. For example the painted shells shown here had a hole at one end, but I found that I needed to anchor them with threads following the grooves in the shell to get them to stay in place.

Two techniques for attaching objects without holes, like Shisha mirrors, are shown in Row 4. In square 3, the more traditional method of holding the mirror in place with stitching (chain stitch woven round and round in this case) was used and then seed and bugle beads were added around the outside to enhance the effect. In square 2, the mirrors and other beads and sequins were placed under a fine net and then beads stitched over the top to hold everything in place. The technique of using a fine fabric to hold down some beads and then stitching others over the top was also used in Row 5, square 5. A piece of very fine chiffon was placed between the two layers of beads, and is almost invisible. It is hard to tell which beads are on top and which are underneath.

This picture shows a few other more experimental panels. In Row 3, square 1, the purple "beads" are made from cut up pieces of a plastic document wallet and bits of painted Tyvek which was gently heated by waving a dry iron over it until it started to buckle and contract. Row 4, square 1 consists of a mixture of painted wooden beads and buttons, piled on top of each other. Row 4, square 2 combined glass beads of various sizes and shapes, with some white plastic disks. The purple decoration was added to the disks using a marking pen, and then purple threads were used to anchor the disks over the purple pen marks.

b) Beaded Edges


This series of pictures shows various attempts to create different types of beaded edges.

The simplest and easiest used seed beads with/without bugle beads applied in a single row. I then tried a couple of looped versions which I found on the internet. The net pattern on the right was delicate, lacy and quite attractive, but the looped sample on the left was not good at all. I think this was partly due to the tension, but also the instructions may have needed modifying to join in the loops slightly differently.


The tasselled edges below were far more pleasing and all worked out fairly well. In the sample on the left I experimented with different types of beads and combinations. However my favourite was the sample on the right where the longer strings alternated with the shorter ones, giving a very pretty finish.

CHAPTER 7: SIMPLE BUTTON MAKING

In this module I experimented with several ways to make buttons or related items in various materials and shapes. These could be used functionally or to embellish a constructed textile in a non-functional manner.

a. Coiled and Bound Shapes
The two buttons on the left were made from coiled wire wrapped in a braided fabric and then fine threads were wrapped or woven around the coils to add further interest. The coiled wire is harder to work with but the results retain their spiral shape very well.

The three samples on the right were made from layered strips of different coloured felts which were lightly glued then rolled to give a multi-coloured coil. They are fairly simple, but give a nice spiral impression.

The two samples in the middle were made from coiled felt which was then bound with multicoloured threads to give little wrapped bundles. These samples were easy to do and gave quite attractive results. They could be useful for some projects.

b. Wrapped Shapes This picture shows several samples made by wrapping a core shape in some wadding, covering with a piece of stretched stocking and then an outer fabric wrapped with threads as a highlight. I found that Balsa wood was a good material for the core. I bought a bag of various shapes and also some flat thin strips. It was easy to cut them with a Stanley Knife into nay desired shape or size. Various fabrics were used as the outer wrap. Some were commercial samples and others were coloured before use. For example the fabric at the bottom had been hand dyed fabric with monoprinting applied. The threads were chosen to echo the main colours. The square button top right was prepared from a textured and coloured fabric which started as a white baby wipe. This technique was learned at a workshop I attend a few months ago with Isobel Hall. These wrapped buttons have good possibilities for many applications, including jewellery.


c. Dorset Buttons
In these samples I experimented with different techniques such as buttonhole stitch, wrapping with fine threads or fabric wrapping to cover the ring shape (starting from a metal ring or a rubber washer). I then tried several ways of filling in the centre of the button to create more interest. These included weaving or winding threads in different patterns and adding beads to embellish the item. Overall I was very pleased with these samples.

d. Fabric Toggles
In this section I tried many different types of fabric, fabric combinations and different winding techniques to produce a variety of shapes. Some fabrics, such as felt, had non-fraying edges. Others were machine stitched to hinder fraying or deliberately frayed to add to the effect. I added some small beads to embellish the edge of the mauve net sample as its regular edge looked a bit plain. Winding other threads around the toggle shape also made some of them more interesting.


e. Experiments with Tyvek
This picture shows several buttons made with two different experimental techniques using Tyvek. All started with Tyvek painted in various colours with acrylic paints. The samples on the left were made by rolling strips of Tyvek into toggle-like shapes, wrapping various threads around them, then applying heat with a hot-air gun until they started to shrivel.

The items on the right were made by machining circles of painted Tyvek to felt circles with circles of a plastic mesh at the back. I then gently applied hot air till the Tyvek started to disintegrate and the felt circles started to distort because of the shrinking of the plastic mesh behind them. This technique was my own idea, and grew out of one demonstrated at Isobel Hall's workshop.

Overall I liked the results of these Tyvek experiments and could envisage various uses for these buttons as embellishments for bags, jewellery and wearable items.

CHAPTER 6: SIMPLE TASSELS

a. Simple Tassels by Hand


The first picture shows some of the simplest tassels I tried. The ones on the left and right were done by wrapping the selected yarn over cardboard, tying off the top, then wrapping either the same yarn or another cord around the bunch of threads about one third of the way down. A twisted cord or wrapped cord was used at the top as a hanger for the tassel and the lower ends were cut to form the skirt. The one on the left, which was the first I tried, was too small and out of proportion, so after that I worked with longer lengths of thread. The second one, on the right, has better proportions. The tassel in the centre, which I thought gave a more interesting and pleasing result, was started the same way, but after tying off the neck, the head at the top was divided in two and button hole stitch worked selectively in bands around the loop. The bottom end of the skirt was left looped as well, which looked good with the textured yarn.


The second picture shows some more experiments in forming the head of the tassel. The one on the left was formed from a multicoloured twisted yarn. The threads were divided into three bunches and then the centre third of each bunch was joined by plaiting to form the head. The plaited ends were bound separately and then bound together, to form the neck of the tassel. The loose ends of the yarn were knotted to finish off the skirt. The tassel on the right was made from strips of sari offcuts. The fraying edges of the fabric added to the effect. Three bundles of strips were bound randomly in the middle with yellow-gold thread, then the three banded pieces were twisted around each other before the neck was bound. The binding was not bold enough for the intensity of the fabrics, so I finished off the neck with a fatter gold cord. Looking at the photo, I think the skirt could have been a little longer and the cord bound a bit tighter, but it actually look all right "in the flesh".




This photo shows more experiments with different materials and ways of forming the tassel. The left one used a mixture of silk ribbons and gold cord to form the skirt, which was tightly bound at the top and pulled through a gold mesh ball to cover the neck, finishing with a gold curtain ring at the top. In the centre tassel I experimented with beads to form the skirt and neck, then finishes with a rind at the top which was covered with thread using buttonholes stitch and then small beads added as decoration. Detached buttonhole stitch was worked on the neck of the tassel on the right and a beaded lop was added to form the head. I was pleased with these tassels overall, as I think all were interesting designs and the proportions seemed fairly good.


This photo shows two attempts to produce decorative necks, which proved to be trickier than I had anticipated. For the one on the left I used an old cotton reel, padded it with wadding, covered this with a stretched piece of old stocking to give a smooth surface and then wound a cord made from twisted gimp around it. This proved to be easier said than done and I ended up having to use a few stitches to help hold the cord in place. I think the end result looks quite good, but I would probably use a softer, more firmly twisted cord next time round. In the second one on the right I wanted to get a double bulge effect on the neck. The top part was worked with detached chain and some wadding stiffed inside and then a second binding added further down. On reflection I think the skirt should have been longer and not so fat, and the top part of the neck should have had extra padding so it bulged out more.

b. Tassels by Machine


These three tassels were quite easy to make. I only made one size as I didn't have good equipment on hand to make larger wire frames. I thought the head of the purple one in the centre was a bit boring with only machine stitching. The blue one on the right is better because the variegated threads and the knot add interest. I added a few beads to the head of the one on the left to complement the gold and purple braid I had used to bind and decorate the neck and was pleased with the result.