DIY beaded pendants with cabochons. Embroidered beaded pendant. Master class on braiding a cabochon with beads
I have never been into beading. For some reason, this type of creativity has always been associated with me with frivolous girlish “baubles”. Of course, I often use beads when creating various crafts. But only for embroidery.
However, I was forced to change my mind about beaded jewelry by the unimaginably attractive works of Marina Karetnaya, which I recently saw on the Beaded Jewelry Design website.
Cabochons made of natural stones, enclosed in fancy beaded frames, captivated my heart. And Marina advised where you can find information on braiding cabochons.
And finally, Czech beads of several shades and a small cabochon of sodalite were bought. So it's time to start learning a new hobby.
Are you eager to know if I managed to braid my first cabochon? Then look
Master class on braiding a cabochon with beads
Materials and tools for braiding a cabochon:
Czech seed beads Preciosa 10/0 (transparent dark blue, brilliant pale blue)
Chinese seed beads 7/0 (violet mother-of-pearl)
Round Sodalite Cabochon 20mm
Navy blue felt
Piece of black leather
Scissors
Needle for beads
Polyester thread for embroidery with beads
Transparent glue "Moment Crystal"
Thin cardboard
These are my treasures for braiding a cabochon up close:
How to bead a cabochon
Glue the cabochon to a piece of felt. It is believed that for gluing a cabochon it is better to use ordinary Moment glue or rubber glue. But I only have Moment Crystal. So if my cabochon does fall off, there will be a reason to attribute it to the “wrong” glue.
I start braiding the cabochon with a mosaic seam.
1 row (I use pale blue beads):
I bring the needle from the wrong side of the piece of felt to the front side next to the cabochon and string 2 beads on the working thread.
I make a stitch corresponding to the size of two beads and bring the needle to the wrong side, tightly tightening the thread and securing the strung beads.
One of the common mistakes at this stage of work is the wrong choice of stitch length: if the stitches are too small, the beads get knocked down and lie unevenly, if the stitches are too large, the beads dangle freely, revealing the working thread passing through it
I bring the needle to the front side between the fixed beads from the side of the cabochon and thread the needle through the second bead.
Again I string 2 beads on the needle.
To braid a cabochon with a mosaic stitch, the number of beads in the first row must be even!
To tighten the beads well, I go through the first row of sewn beads again.
2nd row (I also use pale blue beads):
I pass the needle through the first bead of the first row, string 1 bead on the thread, and then pull the needle through the bead of the first row, located through one from the first. I pull the thread.
Just in case, I show this process from a different angle:
Here you can clearly see that the beads of the second row are located through one.
Similarly, I string all the beads of the second row, tightening the working thread well.
3 row (weave of dark blue beads):
I pass the needle through the first bead of the second row, string 1 bead, after which I pass the needle through the second bead of the second row.
The alternation of pale blue beads of the second row and dark blue beads of the third row forms a kind of checkerboard pattern.
To securely fix the cabochon, I tighten the beads of the third row, passing it again.
As they say, beginners are always lucky. So I was lucky for the first time: the dark blue beads turned out to be a little narrower than the pale blue ones. Therefore, the third row of beads covered the cabochon very tightly. However, it is best to purposefully select beads of a smaller caliber for the top row.
For my first beading work, I use a very small cabochon. Therefore, three rows of beads are enough to secure it well. But if necessary, you can make another 1-2 rows with a mosaic stitch, alternating beads of contrasting colors.
Now the cabochon is set in a beaded setting, and I still have some space left on a piece of felt. And it seems to me that around the braided cabochon you can do a little beadwork (That's why you need to take felt with a margin!).
For the first time, I decided to do without experiments with freeform: after all, I still have not enough experience in cabochon embroidery. Therefore, I limit myself to several circles of beads sewn using the same technology as the first row when braiding a cabochon.
First, I make a row of large violet beads.
For those who could not see the process of sewing on beads, I demonstrate everything again.
Step 1: I fix 2 beads.
Step 2: Go back one bead.
Step 3: I pull the thread through the second bead of two and string the next two beads.
The next row is done with pale blue beads.
All. I’ll stop at this for now, postponing creative experiments for the next time.
Now you need to finish the edge of the decoration.
I cut off the excess felt along the edge of the last row of beads, trying not to damage the working thread.
I cut out a circle from cardboard, the diameter of which is 5 mm smaller than the diameter of the felt circle and glue it to the wrong side of the work.
I smear the back of the sheathed cabochon with glue and apply it to a piece of leather. Press firmly and wait for the glue to set.
I cut off the excess skin along the edges of the braided cabochon, stepping back 1mm from the edge of the felt circle.
Now it's worth thinking about how to close the edge of the braided and beaded cabochon.
You can often find the design of the edge of the cabochon with a buttonhole, as shown in the master class for making a leather keychain.
But of all the possible options, I chose the so-called "Russian" method of sealing the edge of a braided cabochon.
Since the piece of leather that I chose to decorate the cabochon is black, I also use black thread to close the edge.
I insert the needle between the felt and leather part, and bring it out behind the working thread between the two beads of the last row of embroidery around the cabochon.
I string a dark blue bead, throw the thread over the edge of the product. I insert the needle from the wrong side of the sheathed cabochon, through the leather detail to the front side in front of the working thread of the last row of embroidery.
I pull the working thread through the strung bead and tighten it tightly.
I repeat all the steps again.
I drew attention to the fact that in every cabochon braiding master class, the craftswoman always shows the beautiful wrong side of her work.
I have nothing to brag about. But I will not break the established traditions. I show you my “beautiful” wrong side of the sheathed cabochon:
I know, I know, you can't wait to look at the front side.
Well, so be it. This is a side view:
And this cabochon with embroidery in all its glory:
Of course, Marina still needs to grow and grow to the level of Marina's skill. But I incredibly enjoyed working with beads and a wonderful stone - sodalite. It turned out to be so “alive” that I still have the feeling that, having braided a cabochon, I caught a bird of paradise in a net.
Take a step towards beauty with HobbyMama!
About cabochons...
Nadybano from different sites ... who did not indicate - sorry ...
We perform a double-sided row according to the scheme:
We sew "rays" to the front row of our sun, there is something from crochet here. Scheme:
Photo for clarity:
We sew the rays: enter the last bead of the first ray, dial two, enter the last bead of the adjacent ray, and so on until the end of the row. Pull off:
Carefully cut the fabric and cardboard, perform the closing row according to the scheme:
This method of fixing the stone is suitable for both thick irregularly shaped gems and cabochons. In the first case, the setting smooths out irregular edges and makes the stone visually smaller and airier.
Sewing cabochons - how it's done (Beads and jewelry)
I would like to start by thanking Jamie Cloud Eakin for the amazing book Beading with cabochons. I have to admit that prior to reading this book, I had a great deal of prejudice about sewn-on stones. Some kind of suede on the wrong side, stitches - FU! After the very first pages, I forgot about prejudice and could only think of one thing - can I really do something like that ?! Incredible! What variety! What scope for imagination!
I am also very grateful to everyone who left comments on posts with my work. It's so great to get a response - whether with a compliment, with a question! So, someone is interested!
Dear friends! Under the cut - an illustrated (about 600 KV, 43 pictures :)) description of the manufacture of this decoration:
A LITTLE ABOUT CABOCHONS.
Definition from the explanatory dictionary:
CABOCHON - A rounded shape given to precious or semi-precious stones when polished on one or both sides; stone of this shape.
In the world of beading, explanatory dictionaries are not believed and not only stones are teased with cabochons, but also glass, metal, wood, fragments of dishes - if only one side was flat, and the other - a dome. However, the dome is also not required :)
Cabochons come in different shapes - oval, circle, polygon. And different sizes - from miniature 5 mm to 4 cm. And even less or more :) My favorites are oval 30x40 mm. But, to be honest, I haven’t really tried to sheathe others yet :)
And a few more words about the choice of stone. The technology for making the basis of the decoration described below is applicable only for stones with a “dome” edge. If the edge is raised or flat, the fixing row (second) is stitched differently - with an openwork mesh, pico, or multi-row mosaic. For single-color stones, this serves as an additional decoration, but if you want to braid landscape, be prepared for the fact that the beads will cover part of the pattern. It is for this reason that this stone has been postponed for the time being - it needs to be fixed with a net, but it’s a pity for me to hide the drawing :(
Well, for comparison - the stone on the right has a raised edge, the stone on the left has a uniform dome. We will now sheathe the one on the left :)
WHAT WE NEED:
1. Cabochon. Well, where without him?
2. Beads. I most often use two types - 8/0 for the base and edge and 11/0 for pinning.
Reference:
3. Threads and needles for beading. A long time ago, I read some advice somewhere - if you can’t pick up threads in the color of the fabric, take a darker shade. The rule also works for beads - most of my works are sewn with white black threads, sometimes - dark beige, rarely - white.
4. Glue. The stone is only temporarily attached to it while it is sheathed, so any glue for needlework will do.
5. Two types of material for the base - let's call them internal and external.
Internal options:
- dense smooth fabric connected with thermal or adhesive interlining.
- in the USA, a special material designed for sewing on stones and beadwork - Lacy's Stiff Stuff - will be sold (not everywhere - I ordered through I-no). It looks like a very dense hard interlining, in the pictures it is he.
External options:
- leather or suede, natural or artificial. The thinner and softer, the easier it is to sew, of course. If there is no thin one, stock up on a thimble and pliers, as well as a couple of needles - they break, like radishes :(
- in American descriptions, a special material is very actively recommended - Ultrasuede, but I have not tried to use it yet, so I will not say anything ...
6. Miscellaneous - scissors, clasp, beads for decoration - optional.
As a stand for work, I use plastic disposable plates. They are divided into sections - the beads do not mix. Soft - it is convenient to prick beads directly from a plate, and there is simply always a place to stick a needle.
WE SEW THE BASIS
1. Glue the stone to a piece of inner material. Let's dry.
2. We sew the first row, the base row. For it we use beads 8/0 - the one that is larger. We will sew with a double thread with a “back needle” seam, step: 4 forward 6 back. We pierce the fabric from the bottom up, leaving the tail of the thread on the wrong side. We collect 4 beads, pierce from top to bottom. We go back and pierce again from the bottom up, retreating to a distance of two beads.
We collect two beads and sew forward through the already existing four.
We collect four more, flash forward, return six back.
We sew in a circle, we close the last 1-3 beads.
Now let's run the thread in a circle through the beads several times while the thread passes. We need to fill the bead holes as tightly as possible, then the base will turn out to be reliable and look neat. At the end, we pierce the needle inside out, fasten the thread by tying it to the tail left there at the beginning of work.
Here's what happens
3. We sew the second row, fixing. For it we use beads 11/0 - smaller. We will sew again with a double thread with a “back needle” seam, step: 4 forward 2 back. We pierce the fabric from the bottom up between the stone and a row of the base, leaving the tail of the thread on the wrong side. We collect 4 beads, pierce from top to bottom. We go back two beads and pierce again from the bottom up.
We sew forward through the already existing two beads. We continue in a circle four forward two back.
VERY IMPORTANT!!! We stick the needle as close to the stone as possible all the time!
This row is sewn into a nest-groove between the stone and the base row. It is he who must hold the stone in place.
We finish the fixing row in the same way as the base row: we close the circle, we run the thread around the circle until the holes are filled, we fix it on the back side.
Here's what happens:
4. A very important stage - we cut the interlining around the stone. We remember the main thing - you can always go back and cut off another piece, but once a cut seam can be restored in only one way - return to the top of this page and, step by step ..... But let's not talk about sad things. We glue the tails of the threads to the base with a small piece of adhesive tape and cut the material in a circle, turning the work with the stone up, along the edge of the beads of the first row. The distance between the seam and the edge should be approximately equal to their size.
What should happen:
We glue our work to a piece of external material, let the glue dry.
Carefully cut the skin around the stone, focusing on the contours of the inner material.
5. The last stage in the manufacture of the base of our decoration is the sheathing of the edge. We use beads 8/0, the same as for the first row. We collect one bead, stick the needle from top to bottom, first capturing the inner and then the outer material. We return from below to the same bead, tightly tighten the thread.
We collect one more bead, stitch it into the material. And so in a circle.
We close the circle by sewing the working thread and the tail remaining at the beginning of the work "towards" each other. We tie a knot, hide the ends in the water under the material.
The basis of our decoration is ready!
We can do nothing :) Well, except that we hang our medallion on a chain or cord.
And we can try to sheathe it with another row of beads - let's experiment!
We sheathe the seam we have already sewn to us “back the needle”, step - 4 forward 2 back. Nice but boring :)
Let's try pico. Well, pico looks much better with round small beads, this one, in my opinion, is rough...
"Pimps". Here the white beads spoil the whole picture...
Well, I had a long, 3-day weekend, so why not treat yourself to something interesting, multi-beaded?
SO, THE DECISION IS ACCEPTED!
So, we decided to braid our stone in the style of "explosion at the bead factory". We consider how many beads we got in the last, extreme row, divided by four. 42=10+10+10+12. Now we sheathe the base with such corals in a circle:
Well, almost like that, at the last moment I decided to refuse white beads. We sew in the following sequence: ten 3-bead corals, ten - 4-bead, twelve - 5-bead and again ten 4-bead.
In order to avoid internal mumbling (“second of four”, “seventh of five”), we make four slides in advance, 10 (12) beads each, from the beads that will be used in each branch only once. Of course, if there is one. In our example, it is available - bead 6/0 of asphalt color.
Here's what we got:
HOORAY! LAST STEP!
Spiral harness. In Russian translation - American. Known in America as the spiral rope. We will weave two bundles, 25 cm each. But first, let's prepare the lock:
And choose the colors for the tourniquet. Alas, the white one was unlucky again, I didn’t like him :(
Tie the thread to the bead of the clasp
We collect 3 large and 5 small beads, close the ring
We collect 1 large and 5 small beads, return, stitch through 2 large ones.
And through one more - just typed.
We repeat the last two steps to the required length of the tourniquet. Large beads will be, as it were, the basis of our tourniquet, small ones - spirals around the base.
After 17 cm, we will add a little disgrace - instead of the average small bead, we will continue to sew a “pimpochka”
We attach both cords to the medallion. READY!!!
Embroidered cabochon setting. Master class for the lazy
The result will be this:
To get started, prepare everything you need
And point by point:
1. Cabochon. In this case, charoite on a granite substrate. By choosing a flat cabochon, you make it easier for yourself when making a screed.
2. Hoop. For small jobs like this one, I use a frame hoop. The rubber frame holds two pieces of fabric well, no need to tighten, straighten, etc.
3. Fabric. 100% polyester, dense, with a good weave of threads; check that the edge does not crumble.
4. Czech beads, basic and tint colors. Usually the colors are selected to match the lightest and darkest shades of the cabochon.
5. Needles for beads. RTO, Pony, etc. Here you can get by with Chinese short needles of 20p a bunch.
6. Threads. In fabric color.
7. Wax. So that the thread does not twist. Pinch the thread and wax between the thumb and forefinger, slightly pressing the thread, drag it in small pieces.
8. Scissors.
9. A small piece of cardboard - leave space around the edges of the cabochon. It is advisable to take soft cardboard - a box of sugar / tea / cookies is just right.
Let's get to work.
Put the first piece of fabric on the plastic ring in the hoop, on top of the cardboard, the second piece of fabric and secure with the rubber ring of the hoop. Place the cabochon on top (in the light, determine the position of the cardboard between the pieces of fabric and put the cabochon in the center)
There are many descriptions of embroidered frames in the literature (first, sew a cabochon to one rag, sew a piece of cardboard to the inside, then the second rag, and so on until it turns blue). My way is for the lazy. Read on.
You can circle the cabochon along the contour and embroider along the line, but for lack of chalk, I hold this whole pie with two fingers, and sew on the bead row with the other hand.
Along the contour, we perform a double-sided row according to the following scheme:
Face and back:
Next, you need to fix the cabochon in the frame. We put in a cabochon and according to the same principle we sew a row of tint beads, we tighten the row.
We take out the beauty from the frame, carefully cut the fabric and cardboard as close as possible to the embroidered outline, trying not to touch the threads.
Further in the literature, it is proposed to attach a row of beads to the wrong side of the beads, then to the front. Remember, I'm lazy. Scheme:
I sew two beads at once to both sides of the frame: I pick up two beads on the thread, attach to two beads on the wrong side, go into them, and make a loop through two beads on the face, again into two dialed. We collect two more and so on until the end of the row. When tying two beads, the edge is more even.
The same in the photo, but even I don’t really understand what’s going on here o.O I’ll explain:
We dial two, enter the face, return to two.
We fix it from the inside, we enter two.
Fasten the thread, cut.
Let's see the result.
When compiling the master class, the book by G. Pchelkina "Embroidered Jewelry" and magazines "Wonderful Moments" were used
In this master class, using the example of a simple pendant, I will show an embroidered-woven cabochon setting called "eight", which, in my opinion, is more interesting and more diverse than the most common, performed by mosaic weaving. And also I will show my way of braiding and embroidering Swarovski rivoli. Our goal is to get a nice inner jagged edge. We will also dwell on the design of the pendant with various interesting materials.
What we will learn to do in this workshop:
- Making a beautiful figure-eight cabochon setting
- Embroider frame cells
- Braid the rivoli with a serrated edge mosaic, sew the rivoli to the base for embroidery
- Arrange materials while working
- Mosaic cabochon setting
- Closing row in the American way
- Making a loop "Ndebele"
- Decorate the edge with small beads
- Weaving a tetrahedral tourniquet "Ndebele"
- Attach toggle clasp
- And finally - make your own beautiful jewelry with beads, Swarovski elements and cabochons.
For work we need
- two cabochons (in this case, amethysts) - round (can be oval) and a cabochon tapering downwards (a drop, a triangle, or the same shape as mine),
- rivoli Swarovski 14 mm,
- Japanese beads round No. 11, No. 15 and cylindrical seed beads No. 11 (Miyuki delica or Toho Treasures). Round Japanese beads can be replaced with Czech No. 10 or 11 and No. 13-14 (replaces Japanese No. 15).
- In addition, we need round beads or pearls,
- cubic beads or Tila,
- beads number 8,
- as well as magatama long for finishing beads,
- interlining or felt, leather of a suitable color.
In general, I recommend collecting everything that matches the color scheme and the approximate solution of the pendant, because in the process, we will figure out which materials will be used. So, according to the original idea, large Miyuki cubes were to be used, but during the work they had to be postponed - I didn’t like the result.
I usually embroider on a non-woven basis. I prepare large sheets of 30 by 40 cm (approximately), gluing them in 6 layers in layers, and then cutting out the pieces I need. If we work with a color other than white, then we will first paint the non-woven base with acrylic paints and let it dry. Then we glue the cabochon (glue "moment" or silicone. I prefer silicone.).
Let it dry and start sewing next to the beads. For the "figure eight" frame, take 2 colors of beads No. 11, embroider 1 lilac bead, 3 white ones.
We continue the series.
At the end of the row, we try to select the size of the beads or the number of rapports of 4 so that the required amount fits.
Then we start working with small beads (No. 15). You can weave in one color, or two-three-four in any desired combination. STEP 1: We withdraw the needle from the nearest lilac bead, and we collect 1 amethyst, 3 white translucent, 1 amethyst, 3 white matte with a silver line, 1 amethyst, 3 white translucent and close the loop in the first amethyst bead.
We bring the needle through the lilac bead of the base row, 3 white base rows and again insert it into the next lilac.
STEP 2. We collect 1 amethyst bead No. 15, 3 white translucent, and insert it into the amethyst bead from the next loop.
Then we collect 3 silver, 1 amethyst and 3 white translucent and close the loops in the first amethyst bead.
We deduce again through the base row. We have already got 2 cells of the frame.
We continue the frame, repeat STEP 2 to the end of the frame, until the last cell remains. The set of beads differs only in that we collect only one amethyst bead, and pick up the other two from neighboring cells (as in Step 2, only on both sides).
In principle, the base frame is ready. You can walk along the last row of beads, tightening and strengthening the frame and adding beads between the cells, but I usually do all sorts of interesting stitching of the cells. You can embroider only on the lower triangles, only on the upper ones, or on both at once. You will now see how this is done.
We pass with a needle 1 lilac and 2 white beads of the base row, and we collect silver galvanized beads of two different sizes (11, 15), then we pass through an amethyst bead between the cells.
We pass 3 silver beads and 1 amethyst, we collect silver beads in the reverse order - small-large
When all the cells are embroidered, we “climb” up, to the last row and insert 1 bead of a suitable size between the rapports. I have these delica beads.
Here's what we ended up with.
The next step is braiding and sewing on the rivoli. We need delica No. 11 white and silver and round Toho No. 15 galvanized PF (with a stable coating), if available - Czech seed beads No. 15 transparent.
We collect 1 stop bead (any), we pass through it again. Then we collect 36 beads of white delica and begin to weave with a mosaic.
We finish the row, lower the stopper bead, tie a double knot between the working thread and the remaining tail. Then we tie a single knot around the tail with a working thread. Here's one:
After that, we form a ring from our mosaic strip, weaving the "beginning" to the "end".
We begin to weave a row with beads No. 15 (any color) - we will have these beads on the wrong side.
We braid a few beads, then pull out the tail of the thread and untie a knot on the working thread with the help of two needles. We cut off the tail we don't need. The rest of the thread is securely tangled between the beads.
I pass from the inside another row with Czech beads No. 15 for better pulling.
We transfer the working thread to the opposite side of the mosaic ring and begin to weave the front side - weave a row of delica, alternating 1 silver bead, 1 white one and insert the rivoli in the process.
We weave a row of beads No. 15 silver.
Weave the last row with silver No. 15, through one bead with gaps. In the passes, we dive into the delica a row below and return to the top.
Here's what we got:
And this is the back side:
We transfer the working thread, going down the beads, closer to the wrong side - to the last row of delica, and we begin to weave in mosaic weaving 1 bead in this row.
Then we build up another row of delica and tighten it well, tying a knot. This is done so that the convex cone of the bottom does not prevent us from sewing the rivoli to the base, without cutting the base and sinking the rivoli. Beads are spent a little more, but it all looks, in my opinion, more aesthetically pleasing and neater than other methods.
Then we outline the location of the center of the rivoli, leaving room for a row of beads between the rivoli and the cabochon.
We sew the extreme row of our belt to the base. If it is difficult to keep the rivoli in one place, you can first drop a drop of glue on the bottom, stick it to the base and let it dry. Then the rivoli will not move in the process.
We embroider a row around the rivoli and sew on pearls
Embroider around the pearls - beads No. 15
Sew the magatama long up with holes and glue the second amethyst cabochon
We start the base row of frames around the cabochon with delica No. 11
My pebble was biconvex, complex in shape, but I think with some experience the setting should not cause much trouble. It is very useful to use Czech beads No. 15 in the last row, especially in the corners - for the most aesthetic look, so that the frame is securely tightened, but the thread is not visible anywhere. If there is a hole in the stone, close it with a beautiful bead. It was not necessary to do this with a round stone - our openwork frame closed the hole.
Sew on amethyst beads and decorate them with beads No. 15 and small Miyuki drops
We go around the round cabochon with small Toho cubes, sewing them on a double thread with holes to the future edge of the pendant.
We finish with beads No. 15 of an amethyst shade.
Carefully cut out the pendant with nail scissors
We cut out the outline of the pendant from thick paper in size 2-3 mm smaller.
We coat well with glue (in this case, silicone is caught). Be patient, there is already a little left, I myself was tired of uploading photos and commenting. But you will learn a lot at one time
Glue to a piece of leather and cut along the contour, leaving about 1 mm along the edge.
We cut off under the magatums so that their edge is visible beyond the borders of the wrong side.
We start the closing row: we collect 1 bead and pierce the edge of the pendant
We pass the thread back into the same bead. You can tie a knot between the working thread and the loose tail, but this is not necessary.
We collect another bead, pierce the skin next to the previous hole.
And again we return through the same bead, tighten it tighter.
We finish the closing row and bring out the working thread, diving into the beads of the closing row, closer to the top. We need 6 upper beads, from which we will form 3 loops. Try to place them exactly in the center. If 3 fails, do 2 or 4.
We collect 2 beads and dive into the next bead of the closing row. Then exit the first one:
Again we collect 2 beads, dive-surface:
So we weave 18-20 "floors", then we close the loop on our first two beads of the closing row. We go up and down several times, securely weave the loop, then repeat the same thing in the neighborhood 2 times.
Weave "lace": we leave the bead, collect 7 beads No. 15, skip 2 beads and go through the third one, exit the next one, again collect 7 beads ... And so on
We return back in the same order, only now with silver beads, twisting new loops around the white ones.
We dive through the beads under the loops and form a "lace" on the opposite side symmetrically.
Now we just have to tie the knots, hide and cut off the extra threads and weave a beautiful flagellum for our pendant. Initially, I planned to make it on a memory wire rim, but in the process of work, plans changed. So, we will weave a four-sided Ndebele tourniquet with different sizes of beads. It will either thicken or thin out.
We collect 4 transparent matte beads on a long thread (3 meters), close it in a ring and tie a knot. Leave the tail longer, approx. 40-50 cm, then we will weave "ears" for the lock on it. We collect 2 more beads and weave it to the side of the ringlet, as it were, with a second ringlet.
We bring the thread into the extreme 2 beads, we collect two more and again weave them together.
Now you need to connect two extreme pairs of beads with each other. Pass the needle up the beads and down.
Then we begin to build up the tourniquet. We collect two beads, pass one bead down, one up.
We collect 2 more beads, pass one bead down and climb 2 up.
Thus, we weave each new floor: We collect 2 beads all the time, we pass one down, one up, and the second pair - one down, two up.
For beautiful thickenings, we can come up with our own rapport, which we repeat several times. In this rapport, the size of the beads increases from 15 (the smallest) through the delica, 11th to 8th beads and back, changing shades.
The result should be this.
We take the toggle clasp - it is a wand and a ring. The wand should freely penetrate into the ring along with a small piece of tourniquet (otherwise our lock will not fasten.
Weave the Ndebele only on one side of the tourniquet, eventually grabbing the loop of the lock.
We weave the required length of a piece of the bundle into 2 beads and close it into a ring together with the other part of the main bundle (4 beads). We do the same on the other side. While weaving the tourniquet, we will have to increase the thread (at least 1-2 times), we hide these tails inside the tourniquet, tangling between the beads and tying knots.
You can thread the tourniquet through the loop of the pendant either in advance (when the clasp is not yet sewn on), or after all the manipulations.
Our pendant is ready! I hope I didn't bore you too much by watching this master class? Believe me, there were much more photos of the stages of work. But it would be too much to put them all here. And so it turned out a lot of information and photos, despite the fact that the pendant is small.
Thank you for your attention! I will be glad to comments.
For this job you need to take:
— Beads round No. 11 of three shades
— Round beads №15
- Beads Delica No. 11
— Beads bicones 3 mm in diameter- Felt or piece of soft leather
- Scissors, thread, glue and a beading needle
– Interlining
We start by cutting out a piece of non-woven fabric and felt, putting them together and gluing them with an iron, just ironing them. Now glue the cabochon to the felt with glue.
We begin to sheathe the cabochon with Delica beads. We pass the needle through the base from the wrong side, exit the front side, collect 2 beads and return to the base. We collect 2 beads each time, and continue to work, bringing the needle to the front side in front of the fourth bead from the working end of the row (Fig. 6-7).
Sew the first row around. The second row is also made with Delica beads in mosaic weaving technique, add 1 bead through one (Fig. 9-11). Repeat the third row with Delica beads, but the fourth should already be done with round beads No. 11. The next row again goes with Delica beads.
The sixth row goes with beads No. 15, the seventh again with Delica, the eighth and final row again with round beads No. 15. From the wrong side, fasten the thread. Cut off excess material, leaving a small indent for the next rows.
To add volume, cut and glue another layer of felt and sheathe the cabochon with round beads No. 11 in a circle, but so that the holes of the beads look sideways (Fig. 20-23).
This could be the end, but no, we will give this beautiful pendant even more volume and add another layer of felt or leather (depending on what you used). And of course, as usual, we will go in a circle with round beads No. 11.
The final stage is sewing on pendants made of beads and beads. The photo below shows in detail the process of sewing on each of the nine pendants. You also need to decorate the pendant in a circle with bicone beads and make loops, for which you will later attach the pendant to the cord.
A little introductory word...
I thought for a long time what product we will make to study the basics. I wanted to offer some interesting design. But after weighing all the pros and cons, I came to the conclusion - we will do the simplest, and we will deal with the frills in the next classes. This will be a pendant (but you can make another decoration). In the center is a cabochon decorated with a mosaic frame. Around the cabochon, one or more circles of beads, beads, rhinestone braid, etc.
For the lesson, I made such a pendant
Don't worry, you can do without the Tila and Delica. Decoration design depends on your capabilities and imagination!
Now for some theory...
What materials are needed for embroidery?
First of all, of course, this beads, beads, cabochons and other nice things with which you are very familiar. I will not dwell on this point.
Threads. I use the same ones that I weave. Lavsan from "Mosnitok" or similar. Line won't fit. Monofilament can sometimes be used for the closing row, but it is better to embroider with threads.
Basis for embroidery. I do not use a hoop, so the basis for embroidery, first of all, should hold its shape well. To be honest, I have never tried a special basis for embroidery or simulated felt. A favorite material for a long time was interlining glued in several layers. Now furniture eco-leather has been added to it. A few words about non-woven fabric. This is perhaps the most accessible material! To make the base, you need a dense adhesive interlining, a thin one will not work. It is "glued" as follows. We take 2 identical pieces of interlining, fold them with adhesive layers inside. We place our "sandwich" between 2 sheets of office paper. Iron with a very hot iron without steam until the layers are securely glued together. Then add 2 more pieces of interlining and repeat the procedure. The result should be a 4-layer sample. If in its properties it somewhat resembles thin cardboard, then the procedure was successful and the non-woven fabric was chosen correctly. The main drawback of this material is that it is absolutely not suitable for partial embroidery.
Acrylic paints. The non-woven base is often dyed in the color of beads to make the decoration look neater, and sometimes to add additional rigidity to the material. Little trick. Nail polish does the same job.
It will take glue. I use Moment Crystal. The main requirements are waterproof, when it dries it must be elastic and pierce with a needle. It's good if it's transparent.
To strengthen the product, you need thin plastic. I barbarously cut thermal napkins.
Backing material. The main requirements for him are that the edges do not sprinkle and are relatively easy to pierce with a needle. If the skin is not too thick, otherwise it will be difficult to work.
And now I will list the materials that are needed to make jewelry:
Beads. You will need at least 2 sizes. 11/0 (for Czech 10/0) and 15/0 (for Czech 13/0). The rest is optional.
Cabochon. Mine is round, but you can use oval. Can be replaced with a button on a leg or a flat bead.
Beads. I have a thila. Can be replaced by others. Or do without them.
The basis for embroidery (I have furniture eco-leather).
Pins (optional).
Plastic.
Backside material.
Let's start practicing!
Mosaic cabochon frame embroidery.
Glue the cabochon onto the base for embroidery. Do not forget to leave room for creativity, step back a few cm from the edge;)
We will work according to the formula "2 beads forward, 1 back". The schema looks like this:
We fix the thread on the wrong side, we bring it out next to the cabochon on the front side. We collect 2 beads 11/0 (Czech 10/0, you can take cylindrical beads), make a stitch. The stitch length is approximately equal to twice the height of the bead.
We make a stitch in the opposite direction (stitch length \u003d height of the bead), we bring out the thread between the beads. Then we pass the thread through the second bead.
In the same way, we sew the next pair, and the next ... Until we make a full circle ... The number of beads in the circle must be even.
Even beads are sewn tightly to the base, and odd ones can be lifted with a needle. We draw a thread from any odd bead (usually this is the first bead) and begin to weave a mosaic.
If you have any problems with this item, see my old MK on this topic. There I talked about weaving a mosaic frame in some detail.
The number of rows depends on the height of the cabochon. Weave the last row with beads 15/0.
Now you need to walk again along the last row, tightening the frame.
The cabochon frame is ready!
Next, embroider a row around the cabochon. I took beads Milato No. 12 (I was going to try it for a long time), in shape / size it resembles Czech 10/0. This time we sew on one bead. The formula is "1 bead forward, 2 back". Scheme:
The scheme at first glance may seem complicated, but I'm sure you'll figure it out!
We bring the thread near the frame. Sew on 1 bead, make a stitch back (length = bead height), draw the thread through the bead.
* Cast on 1 bead, sew forward stitch equal to bead height, sew back stitch (stitch length = double bead height), draw thread through 2 beads... Repeat from * until you complete the row.
Homework. Try to embroider a row according to the formula "1 bead forward, 3 back"
Addition. Now many sew beaded rows attached. If you want to master this method, I highly recommend studying the lesson in ShBI from Maria Vukolova. While it's still available...
On the next row, I sew on a teela. You can use other beads instead of tila or skip this step altogether. All beads are sewn on one by one.
First I sew the tila along the inner diameter, the formula is "1 tila forward, 1 back"
In the next photo, I specially raised some of the beads so that it could be seen that the tila was sewn only along the inner diameter.
Now sew the teela along the outer diameter.
To close the gaps between the beads, I braided (! I just braided, not sewn on) beads 15/0. Unfortunately, the bead was not in focus ((
It should turn out something like this...
And another row. This time the last one. The last row is very important. The quality of the edge processing largely depends on how correctly it is embroidered. The main feature is that the needle is inserted and withdrawn as close as possible to the previous row. This will allow you to easily cut off the excess base.
Result:
We cut off the excess. The base should not protrude beyond the beaded edge.
And now the death number! I will show what I really don’t know how to do myself ... But I’ll still try, and you yourself think whether you need it or not;).
Usually, the accessories are attached to the closing row, but there is another way - to sew the pins curved with loops to the embroidery before starting to process the wrong side. Now I will try to do something that I have never done, I will make 7 loops of pins (usually I limit myself to two or three). Two will serve for hanging the product and five for decoration.
To begin with, I mark the attachment points
Now I'm bending the pins. You need to bend them in such a way that you can then sew them firmly
I'm sewing... The pins should be sewn tightly, not move relative to the base.
We drip glue only on the center of the embroidery and glue a piece of plastic to it.
Now trim off the excess plastic. First from the front, then from the wrong side. The size of the part should be slightly smaller than the size of the embroidery (so that it does not interfere with sewing the closing edge). After trimming, you need to glue the edges.
Now glue the embroidery to the wrong side. The very edge (about 2 mm) is not glued.
We process the edge. We will do this in the following way:
We collect 2 beads, pierce our layers with a needle (the needle enters from the wrong side, exits from the front side). The length of the stitch is approximately equal to the diameter of the bead.
We pass the thread through the second bead so that it (thread) is between the first and second beads.
Passing the thread through the bead
Having reached the pins, we continue to sew the closing row, leaving the pins behind the beads.
Having reached the end of the row, the first and last bead must be connected. Try to guess how to do it! 
The pins nevertheless played their negative role, the closing row turned out to be, to put it mildly, imperfect (((. I will decorate. Beaded decor can be woven to such an edge in two ways. The first is with a brick, clinging to the thread. Or so ...
Decor weaved in 2 steps according to the scheme
Here's what happened. Face...
It remains to attach the pendants and hang the decoration on a cord or chain. This lesson is over!
