Many teachers are required to wear l.D. badges. Wouldn’t they love to consider that badge a piece of Jewelry instead of a nuisance?

Creamy white pearls and bright gold beads дге strung to form the go-with-everything necklace strap.
Thirty inches fits easily over the head but the magnetic clasp will safely break away if the badge holder becomes entangled. Use woven or braided cord or matte black beads for the guys. The brightly painted wooden apple with pressed glass leaves is fitted with a large jump ring to accommodate
the clip on the badge. A large variety of wooden shapes are available if you wish to create a similar badge holder for other professions.

Materials needed…

• 2 grams Gold silver-lined seed beads, size 11

• 22 freshwater pearls. Each * 6 mm

• 44 gold corrugated rounds, 3mm

• 2 Gold crimp beads

• 3G” braided beading wire

• 1 Magnetic clasp.

• 2 Green pressed glass leaves with hole
from stem to point

• 2 Gold eye pins, each 4* longer than
your leaf beads

Tools:

• Rat or chain nose pliers

• Round nose pliers

• Wire cutters and eye protection

• Paintbrush if needed

• Thread

Materials:
14 count Black Aula 30 cm wide x 60 cm beads (12″ x 24″).
50 cm x 40 cm (20″ x 16) Medium Weight Iron .
Black Satin Lining I:ahric 50 cm x 40 cm 50 cm x 40 cm Medium Weight Black Card.
1 m 7 mm Black Cord. 1 Skein Raj Mahal Black Art.
Silk Thread Double sided tape. Loop hall of frog closure Lincraft J-130
Small black Button with shank.

Method:
Stitch heads onto Aida using a half cross stitch with two strands of stranded cotton and a #28 Tapestry needle.. Match cotton and heads as per colour key.

Pattern
Trace gusset and outline of pattern from needlework onto transparent paper. Cut card slightly smaller than needlework and cover the outside edge of one side with doublesided tape. Trim needlework 1 cm  away from stitching. Clip corners and mitre points. Turn excess fabric to back of headwork and press down. Insert card between back of beadwork and turned fabric. Using doublesided tape, secure the turned fabric to the back of the card. This is now treated as one piece.

Reinforce the top of the hag where it folds over to form tар, with a 1 cm x width strip of card, using doublesided tape. Cut violene slightly smaller than Item 1. Iron onto wrong side of the satin. Cut, leaving a 1 cm excess all around the violene. Mitre corners and clip points. Press and fold excess fabric to hack.
Bull ends of cord together and stitch together securely as this will take the weight of the hag.

Using doublesided tape, secure cord to reinforcing strip at fold of top of bag. Cut four gussets from satin, and two from violene. Iron Violene to wrong side of two gusset pieces and stitch one plain and one violene gusset right sides together around the curved edges, leaving the top open. Repeat for the other gusset. Turn gussets to right side, fold top hem to inside and slip stitch closed. Fold gusset in half lengthwise, press down and machine stitch the crease. Gussets fold to center of bag.

Stitch gussets into bag, starting at bottom and using ladder stitch. Stitch both side fronts first, then the backs. Make a 4 ply cord from the silk thread. The cord needs to be long enough to cover the two sides back, front and both edges (approximately 1.5 metres (60′)). Carefully  stitch cord around the edges of the bаr, hiding stitches and edges of gussets. Stitch frog loop onto wrong side of center point bag, with edge of loop overhanging the edge of the bag. Securely, stitch the button on: front of bag, in appropriate position  for loop, using strong thread and secure well.

3D beading is not very popular today because there are not many 3d beading patterns available on the internet.Theese resourses where you can find some 3d beading patterns are rather difficult to find. 3D beading patterns are mostly available on Japanese and Chinese langauage and thats another problem,because not all of us can read Japanese articles. But what is 3D beading that we have been speaking about?

3D beading generally uses the techniques of bead weaving, which can be further divided into right angle weave and peyote stitch. Most 3D beading patterns are done in right angle weave, but sometimes both techniques are combined in the same piece. Both stitches are done using either fishing line (most popular brand: fireline) or nylon thread (most popular brand: nymo). Fishing line lends itself better to right angle weave because it is stiffer than nylon thread, so holds the beads in a tighter arrangement and does not easily break when tugged upon. On the other hand, nylon thread is more suited to peyote stitch because it is softer and more pliable than fishing line, which permits the beads of the stitch to sit straight without undue tension bending the arrangement out of place. Right angle weave is done using both ends of the fishing line, in which beads are strung in repeated circular arrangements, and the fishing line is pulled tight after each bead circle is made. Peyote stitch is stitched using only one end of the nylon thread. The other end of the string is left dangling at the beginning of the piece, while the first end of the thread progresses through the stitch. In peyote stitch, beads are woven into the piece in a very similar fashion to knitting or cross stitching. In fact, it is not uncommon for cross stitch patterns to be beaded in peyote stitch technique. Peyote stitch patterns are very easy to depict diagrammatically because they are typically stitched flat and then later incorporated into the piece or left as a flat tapestry. Right angle weave lends itself better as a technique to 3D beading, but peyote stitch offers the advantage of more tightly knit beads, which is sometimes necessary to properly portray an object in 3 dimensions.

source: wikipedia.org

Long ago the Native Americans decorated their garments with painted designs. They made colors with pigments of earth, grasses, clays, and berries. In time they began to make fine porcupine-quill embroidery, which they colored by boiling the quills in the paint pigments. Native Americans also made beads from bone, shell, or dried berries. They fashioned the beads into necklaces or decorations for the fringes of their garments and bags.

About 1675 the European traders brought colorful glass beads to the tribes. The earliest beads brought by the white people were called pony beads by the Indians because they were brought in by the traders pony pack trains. Most of these beads were dark blue. Some were white and a few were a dull red color. The Indians worked them into several rows of blue, then a few rows of white and again the blues. This type of pony beadwork continued until about 1840, when a smaller seed bead was brought in. The Indians still use seed beads.

Originally these beads were not very plentiful. For this reason Indian women use a combination of both quills and beads. After beads became plentiful, the Indians did less of the beautiful quillwork, using it often as an edging for sleeve bands, and legging strips, which were embroidered with broad bead bands. Moccasins, too, carried this combination, but the entire top of the foot would be done in quills, with the narrow band around the foot beaded. These bead strips, or bands, were usually not more than eight beads wide.

THREE TYPES OF BEADWORK USED
For some years after beads were introduced to the Indians, sinew was used in place of needles and thread for beadwork. Sinew is a tendon, or cord. The Indians generally used the long sinew found along the backbone of buffalo, deer or elk.

After the sinew had dried, it was split into very fine threadlike strands. Next, it was soaked to make it pliable. Then, twisting one end to make a point, the Indian woman strung a few beads on it. With a fine awl, she made a hole in the skin she was working on, pushed the sinew through, and pulled the beads up tight. So well did she do her work that not a stitch could be seen on the reverse side of the skin. She did this by splitting the thickness of the hide with the awl.

Overlay, or Spot Stitch
One of the earliest methods of applying the beads is called the overlay, or spot stitch. By using this method, the Indian woman could curve her design, making it into either flowers or leaves or a combination of both.

Lazy Stitch
This type of beadwork was most often used by Western Indians. It lends itself to straight-sided, or geometric, designs, and is most often seen on fully beaded vests and pipe bags and on the tops of women’s dresses.

After the Indians began to obtain cloth from the traders, they also were able to get fine bead needles, and much of the beadwork, especially that of the woodland tribes, was done on cloth.

Loom Weaving
The earliest bead loom, use by the Ojibway women, was a bow-shaped ash branch. To each upturned end they fastened a doubled-over piece of birch bark. Through a row of holes made in these pieces they threaded the loom.

When they worked with sinew, they wove so that as the thread passed through the beads one strand passed over the loom string, the next passed under, and so on. When they used thread and needle, they strung the beads on the thread and then placed the strand under the loom threads, pushing the beads up between the strands. Next they passed the needle back through the beads, taking care this time that the needle passed across the loom strings on their upper side. The beads were then drawn up tight, and the next row was added.

This bow-type loom was easy for an Indian woman to carry with her, but at home she often used a frameliked loom. This was simply four flat pieces of wood lashed together at the corner with wet sinew. As the sinew dried, it held to corners firmly together. In stringing this type of loom, she wrapped the thread around and across the frame from top to bottom. Starting the beadwork near the top of the frame, she worked downward. When she reached the lower end, she gently slid the beadwork over the top.