Here comes Santa Claus and his merry rider just in time to deliver Christmas cheer. Accented with lots of shiny tree trims, this jolly design can be displayed as a wall hanging or as a decoration for your front door.

Size: 131/2″w x 17%”h Supplies: Worsted weight yarn (refer to color key), two 101/2″ X 131/2″ sheets of 7 mesh plastic canvas, #16 tapestry needle, metallic silver ribbon , 28 – 6mm beads, one 5/8″ w star sequin, sewing needle, thread, sawtooth hanger, and clear-drying craft glue Stitches Used: Backstitch, French Knot, Gobelin Stitch, Overcast Stitch, Tent Stitch, and Turkey Loop
Instructions: Follow charts and use required stitches to work Santa pieces, leaving shaded areas unworked. Match and work~stitches in shaded areas through two thicknesses to join Upper Santa to Lower Santa. Refer to photo to sew beads to tree. Match to glue star sequin to top of tree. For hanger, sew sawtooth hanger to wrong side of stitched piece.

Designed by: Jack Peatman for LuvLee

GINGERBREAD GOODIE HOUSE
Size: 8″ w x 11″ h x 8″ d
Supplies: Worsted weight yarn (refer to color key), seven 105/8″ x 135/8″ sheets
of plastic canvas, two 4″ dia plastic canvas circles, #16 tapestry needle, ten
4mm green beads, 108 – 4mm red beads, 24 – black seed beads, four 1/2″
yellow star buttons, sewing needle, and sewing thread Stitches Used: Backstitch, Cross Stitch, French Knot, Gobelin Stitch, Overcast Stitch, Pattern Stitch, and Tent Stitch Instructions: (Note: Use a double strand of yarn for Pattern Stitch and for horizontal and vertical Gobelin Stitches.)

For Roof Sides, cut two pieces of plastic canvas 48 x 35 threads each. Use white to cover pieces with Pattern Stitch. Match edges and use white to join Roof Sides along one long edge. Follow charts to work Front/Back Eaves and Side Eaves. Match. ‘s and ‘s and use white to join Front/Back Eaves to Side Eaves between ‘s and x •s. Refer to I photo and use white to join Eaves to Roof Sides. Use white Overcast Stitches to cover unworked edges of Eaves. Sew green beads to Eaves at ‘s. Sew red beads to Eaves at ‘s (Note: For a sturdier house, use a double thickness of plastic canvas for Front, Back, and Sides.) Cut two pieces of plastic canvas for each Front, Back, and Side. Match edges and hold pieces together while stitching through both thicknesses.

For Arch Sides, cut four pieces of plastic canvas 4 x 19 threads each. For each Archway, refer to chart and use sewing needle and thread to join two Arch Sides to Arch Top. Follow charts and use required stitches to work Archways, Wreaths, and remaining pieces. For each Archway, use white and match ‘s to join Archway to Front/Back. For each Wreath, thread an 8″ length of red yarn through Wreath at *’S. Tie yarn in a bow
and trim ends. Refer to photo and use green to tack Wreath to Front/Back. Refer to photo to sew seed beads to snowmen for eyes and buttons. For each scarf, knot two 12″ lengths of red and one 12″ length of green 1;4″ from one end. Braid yarn for 4″ and knot remaining ends; trim remaining ends to 1;4 “. Thread scarf through Front/Back at ‘s and knot. Sew red beads to Sides, Left Tree, and Right Tree at ‘s For each tree, refer to photo and match ‘s to place Left Tree and Right Tree on Side with right sides up. Use green and work through all thicknesses to join Tree pieces to Side along unworked threads. Refer to photo to sew star buttons to tops of trees. For each Shutter, use white and match ‘s to join Shutter to Side along unworked threads. For each Window Box, use brown and match ‘s to tack Window Box to Side. Refer.to photo and use white to join Sides to Front and Back. For Bottom, cut a piece of plastic canvas 44 x 44 threads. (Note: Bottom is not worked.) Use white to join Front, Back, and Sides to Bottom along unworked threads.

Here’s the perfect gift for Grandparents Day (September 9) – a heart-tugging wall hanging
that names all the grandchildren. For extra sentimental appeal, let the children stitch
their own personalized hearts.

Large Heart Size: 13V2″w x lOV2″h
Small Heart Size: 3Ys”w x 3″h
Supplies: Worsted weight yarn (refer to color key), two lOV2″ X 13V2″ sheets of 7 mesh plastic canvas, #16 tapestry needle, tracing paper, removable tape, 1;4 “w rose ribbon (for granddaughters), 1;4 “w blue ribbon (for grandsons), clear-drying craft glue, and saw tooth hanger

Stitches Used: Backstitch, Cross Stitch, Overcast Stitch, and Tent Stitch Instructions: Follow chart and use required stitches to work Large Heart. Follow charts and use required stitches to work one Small Rose Heart for each granddaughter and one Small Blue Heart for each grandson. Complete backgrounds with ecru Tent Stitches as shown on charts. Use ecru Overcast Stitches to cover unworked edges. Use the alphabet and grid below to chart each grandchild’s name on a separate

piece of tracing paper. Center name along placement line on one Small Heart chart. Secure with removable tape. Use rose to stitch each granddaughter’s name on a Small Rose Heart. Use blue to stitch each grandson’s name on a Small Blue Heart. To attach each Small Heart to Large Heart, cut ribbon to desired length and glue ends of ribbon
to wrong side of Small Heart and Large Heart. For hanger, glue saw tooth hanger
to wrong side of Large Heart.

Size: 4 -1/2 “w x 5-3/4 “h x 4 -1/2 ” d
(Note: Fits a 4-1/4 “w x 5 -1/4 “h x 4-1/4″ d
Supplies: Worsted weight yarn (refer to color key), one 10-5/8″ x 13-5/8″ sheet of 7 mesh plastic

Stitches Used: Gobelin Stitch, Overcast Stitch, and Tent Stitch Instructions: Follow charts and use required stitches to work Tissue Box Cover pieces. Complete background with ecru Tent Stitches as shown on chart. Use ecru to join Sides along long unworked edges, Use ecru to join Top to Sides, Use ecru Overcast Stitches to cover bottom edge,

Designed by Kathleen Hurley

Welcome Home
This row of tiny houses spells out a cordial welcome for your guests. Turned around, the pieces create a quaint little village on a shelf or table.

Approx Size: 1-3/4″W x 2-7/8″h x l-3/4″d each
Supplies: Worsted weight yarn (refer to color key), two 10-5/8″ x 13-5/8″ sheets of 7 mesh plastic canvas, #16 tapestry needle, sewing needle, and thread Stitches Used: Gobelin Stitch, Overcast
Stitch, and Tent Stitch Instructions: For each Style # 1 or Style #2 House, follow charts and use
required stitches to work one Front, one Back, two Sides, and two Roof pieces.
Refer to photo and use house color to join Sides to Front and Back. For Bottom, cut a piece of plastic canvas 12 x 8 threads. (Note: Bottom is not worked.) Use house color to join Front, Back, and
Sides to Bottom along unworked edges.
Use black to join Roof pieces along unworked edges. Refer to photo and use sewing needle and thread to tack Roof to house.
For Style #3 House, follow charts and use required stitches to work Front, Back, Side A, Side B, and Roof. Refer to photo and use house color to join Sides to Front and Back. For Bottom, cut a
piece of plastic canvas 8 x 8 threads. (Note: Bottom is not worked.) Use house color to join Front, Back, and Sides to Bottom along unworked edges. Refer to photo and use sewing needle and
thread to tack Roof to house.

CANVAS: PENELOPE is the classic canvas which is used in Traditional Needlepoint. It is a double woven fabric with pairs of horizontal and vertical threads which form the mesh. When doing regular needlepoint, the stitches are worked diagonally over two horizontal and two vertical threads. For Petit Point, the double vertical thread is separated and all the meshes are worked. In Traditional Needlepoint the canvas measures 10 meshes to the inch or 20 Petit Point meshes. It is usually Antique Tan in color, but is also available in White and Off-White.
MONOPOINT is a single weave canvas in which every mesh is of equal size. It is not as firm as Penelope and generally is not recommended for furniture pieces or any item that will receive hard wear. Monopoint canvas is usually White and, therefore, is suitable for hand painting. It is made in sizes ranging from 10 to 16 meshes to the inch (and even finer for Petit-Point) but 12 to the inch is the popular choice.
INTERLOCKING canvas (Iino weave) is a monopoint construction made of vertical and horizontal double strands which are woven together at the intersections. The strands are permanently set and cannot be separated as in Penelope. This construction gives more stability than a simple monopoint weave, though it sacrifices something in strength

YARNS AND THREADS: TAPESTRY WOOL is the Traditional yarn for needlepoint. It is made of long fibered, tightly twisted wool, which because of its quality and construction resists fraying and wear while it is being worked. A single strand of tapestry yarn can be used on 10 mesh penelope or 12 mesh monopoint canvas, or it may be split in half for working Petit Point. Tapestry Yarn,  It is permanently mothproofed.
PERSIAN YARN is actually a Crewel Embroidery yarn but it is also used for needlepoint. It is constructed of 3 loosely twisted strands of 2-ply yarn and it is interchangeable with tapestry wool. It is very easily separated into 1 or 2 strands for use on finer mesh canvas. Needlepoint and Crewel Wool, are packaged in 10 or 40 yard skeins and are also available by the strand.
COTTON THREAD is used in working needlepoint for various special effects.  Six Strand Cotton in multiple strands can be worked on regular mesh for highlight areas or on Petit Point canvas as a background for evening bags and purse accessories. It has more gloss than wool, which makes it suitable for dressier items.
METALLIC & RAYON THREADS may be used for highlighting small areas or for complete pieces such as Belts, Jewelry, etc. Spotlight  in Silver or Gold and Rayon are recommended.
ACCESSORY ITEMS: NEEDLES. The blunt tapestry needle is recommended for all needlepoint. For standard Gross Point (10 and 12 mesh canvas) use size 18 or 19 needle; for Petit Point, size 21 or 22.
NEEDLEPOINT FRAMES. Large panels of tapestry can be worked more conveniently on a needlepoint frame. Even for smaller pieces, the use of the frame keeps the canvas in shape so that it requires a minimum of blocking when it is completed. Most frames are of a rotating type and they come in many sizes to be used in the hand or on tables.
TYPES OF NEEDLEPOINT TRADITIONAL NEEDLEPOINT is usually done on 10 mesh to the inch Penelope canvas. The design is pre-worked and only the background needs to be filled in with the color and stitch of your choice to complete the piece.
TINTED NEEDLEPOINT is like painting on canvas. It is screen printed rather than hand painted, though some are retouched by hand. The canvas may be white Monopoint or Antique Penelope. Sometimes these are packaged in kits with yarns and other materials needed to complete the item such as pillow backings.
AMOUNTS OF YARN REQUIRED
The amounts of yarn required may vary considerably depending on how many color changes there are within an area, the mesh count of the canvas and which stitch is being used. The following is given as a rule of thumb:
HALF CROSS STITCH requires approximately 4/5 of a yard of tapestry or persian type yarn for 1 square inch of 10 mesh canvas.
CONTINENTAL STITCH requires approximately 1-1/4 yards for 1 square inch of 10 mesh canvas.
DIAGONAL TENT STITCH (basket weave) requires approximately the same yardage as the Continental Stitch.
For other kinds of stitches or different meshes of canvas, it would be necessary to work a 1 inch square to see how much yarn is required.
TO BEGIN WORKING
Tape the edges of the canvas with masking tape. This prevents raveling and protects the yarn from catching in the raw edges’. Measure and mark the area to be worked. If it is to be a picture, select the frame and work only the part that will show. For a furniture piece, measure the Chair Seat or Foot Stool across the widest part, then plan to work one additional inch on all sides.
Allow 2 inches of unworked canvas all around to facilitate blocking and finishing.
Work with a strand of yarn not over 18″ in length. If a strand is too long, it becomes frayed and does not cover the canvas. To end a strand, run the needle under a previously worked row for about an inch and clip closely. If the yarn becomes too frayed to cover properly, fasten off and begin a new strand.
For best results, work your piece in a needlepoint frame. If you prefer to work it in the hand, use the “Frame” or “Punch” method. This is done by bringing the needle straight up from the back to the front, then straight down from the front to the back in two stitches instead of sewing through in one stitch. This method prevents the yarn from wearing, makes stitches that are even, and keeps the canvas from pulling out of shape. Pull stitches taut but not tight. If the yarn becomes twisted while working, drop the needle and let it unwind. Although there are no set rules, it is usually recommended to work the design first then the background.
Work the stitches in numerical or alphabetical order as given in each illustration. Bring yarn up at the odd numbers and down at the even numbers. If both numbers and letters are used, work numbers first, then letters. Where numbers or letters are upside down or sideways, turn canvas and diagram to correspond and continue work. Some stitches are photographed in several colors. These are shown to illustrate different effects which can be obtained by alternating colors. The same stitches may be worked in one color only for textural effects. When there is not room to work a complete stitch, work as much of the stitch as is necessary to cover the canvas.

BLOCKING
Blocking is necessary for most completed pieces because the diagonal direction of the needlepoint stitch pulls the canvas out of shape. Even when the use of a frame serves to keep the canvas in shape, blocking refreshes the yarn and brightens the colors.
BLOCKING: Do not wet embroidered piece; it needs only to be somewhat dampened so that it can be stretched into shape. Wet a terry towel that is larger than embroidered piece and wring so that it is just damp (not dripping wet). Center piece flat on damp towel and roll up, being sure that towel keeps embroidered piece from touching itself and leave overnight. Remove slightly damp embroidery and stretch into shape by tacking or pinning to a board (wrong side of embroidery up) using rustproof pins or nails. Cover with a slightly damp cloth and let dry COMPLETELY before removing.

Fringe: Cut an 8″ length of yarn. Thread needle with loose ends of yarn. Come up at 1, leaving a loop on the wrong side of canvas. Bring loose ends and needle through loop (Fig. 6) and pull tightly. Trim ends to desired length. A dot of glue on back of fringe will help keep stitches in place.
Turkey Loop: This stitch is composed of locked loops. Bring needle up through hole and back down through same hole, forming 100′p on top of canvas. Locking stitch is then made across thread directly above or to either side of loop as shown in Fig. 15 -Fig. 12
Diagonal Mosaic Stitch: This stitch is a variation of the Mosaic Stitch. It is worked in diagonal rows as shown in Fig. 7.
Backstitch: This stitch is worked over completed stitches to outline or define (Fig. 2). It is sometimes worked over more than one thread. Backstitch may also be used to cover canvas
Double Leviathan Stitch: This stitch is worked over four threads and is composed of eight stitches, all crossing at the center (Fig. 4).
Pattern Stitch: Gobelin Stitches are repeated in a pattern to create a scalloped effect as shown in Fig. 8.
Scotch Stitch: When worked, this stitch forms a square. It may be worked over three, four, or five horizontal threads by three, four, or five vertical threads. Fig. 9 shows it worked over four threads.
Smyrna Cross Stitch: This stitch is worked over two threads as a decorative stitch. Each stitch is worked completely before going on to the next (Fig. 10).
Tent Stitch: This stitch is worked in vertical or horizontal rows over one intersection as shown in Fig. 11. Follow Fig. 12 to work the Reversed Tent Stitch
Two-tone Star Stitch: Work steps 1-12in first color as shown in Fig. 14. Work steps 13-16 in second color as shown in Fig. 15.
Gingerbread Goodie House
Cut along red lines shown in Fig. 16 to cut out one Arch Top and one Wreath from each 4″ dia plastic canvas circle.

HOW TO MAKE A TASSEL
Cut ten 5″ lengths and one 20″ length of embroidery floss. Fold 5″ lengths of floss in half. Make a small loop on one end of 20″ length of floss. Refer to Fig. 14 to wrap 20″ length of floss around folded 5″ lengths several times, covering almost all of the loop. Thread end of 20″ length through loop (Fig. 15). Pull other end of 20″ length until loop disappears under wrapped area (Fig. 16). Trim end at top close to wrapped area.

HOW TO MAKE A POM-POM
To make a pam-pam, cut two cardboard circles, each 2″ in diameter. Cut a center hole about 1/2″ in diameter in each circle. Thread needle with doubled 72″ length of yarn. Holding circles together, pass needle through center hole, over outside edge and through center again (Fig. 17) until entire circle
is covered. You will need to use approximately 5 lengths of yarn to complete pam-pam. With very sharp scissors, cut yarn between the edges of the two cardboard circles (Fig. 18). Using a doubled 24″ length of yarn, slip yarn between cardboard circles, pull tightly and tie very firmly around center
of pam-pam. Remove cardboard circles, cutting away if necessary. Fluff pom-pom by rolling between your hands.
Trim pam-pam evenly.

When buying your canvas, remember that several different manufacturers produce plastic canvas. Because of this, there are often slight variations in canvas, such as different thicknesses of threads or a small difference in mesh size. Because of these variations, try to buy enough canvas for your entire project at the same time and place. As a general rule, it is always better to buy too much canvas and have leftovers than to run out of canvas before you finish your project. By buying a little extra canvas, you not only allow for mistakes, but have extra canvas for practicing your stitches. Scraps of canvas are also excellent for making magnets and other small projects.

WORKING WITH YARN
Worsted weight yarn has four plies which are twisted together to form one strand. When the instructions indicate 2-ply yarn, separate the strand of yarn and stitch using only two of the four plies. To allow for repairs and practice stitches, purchase extra yardage of each color. If you have yarn left over, remember that scraps of yarn are perfect for small projects such as magnets or when you need just a few inches of a particular color for another
project.
In addition to purchasing an adequate amount of each color of yarn, it is also important to buy all of the yarn you need to complete your project at the same time. Yarn often varies in the amount of dye used to color the yarn. Although the variation may be slight when yarns from two different dye lots are held together, the variation is usually very apparent on a stitched piece.
For projects that show both sides of your work, it is important to keep both sides looking neat. Using longer strands will help avoid excessive yarn ends. Be careful to completely hide yarn ends under previously worked stitches. The lines of the canvas will be referred to as threads. However, they are not actually “threads” since the canvas is nonwoven. To cut plastic canvas pieces accurately, count threads (not holes) as shown in Fig. 1.

Before cutting out your pieces, notice the thread count of each piece on your chart. The thread count is usually located above the piece on the chart. The thread count tells you the number of threads in the width and the height of the canvas piece. Follow the thread count and cut out a rectangle the specified size. Remember to count threads, not holes. If you accidentally count holes, your piece is going to be the wrong size. Follow the chart to trim the rectangle into the desired shape. You may want to mark the outline of the piece on your canvas before cutting it out. Use a China marker, grease pencil, or fine point permanent marker to draw the outline of your shape on the canvas. Before you begin stitching, be sure to remove all markings with a dry tissue. Any remaining markings are likely to rub off on your yarn as you stitch.
WASHING INSTRUCTIONS
If you used acrylic yarn for all of your stitches, you may hand wash plastic canvas projects in warm water with a mild detergent. Do not rub or scrub stitches; this will cause the yarn to fuzz. Allow your stitched piece to air dry. Do not put stitched pieces in a clothes•dryer. The,plastic canvas could melt in the heat of a dryer. Do not dry clean your plastic canvas. The chemicals used in dry cleaning could dissolve the plastic canvas. When piece is dry, you may need to trim the fuzz from your project with a small pair of sharp scissors.

GENERAL INFORMATION
1.Fig.1shows how to count threads accurately. Follow charts to cut out plastic canvas pieces.
2. Backstitch used for detail (Fig.2), French Knots (Fig. 5), and Lazy Daisy Stitches (Fig.7 ) are worked over completed stitches. 3. Overcast Stitch (Fig. 9) is used for covering edges of pieces and for joining.
STITCH DIAGRAMS
Bring threaded needle up at 1 and all odd numbers and down at 2 and all even numbers.
Backstitch: This stitch is worked over completed stitches to outline or define (Fig.2). It is sometimes worked over more than one thread. Backstitch may also be used to cover canvas as shown in Fig.3.

Cross Stitch: This stitch is composed of two stitches (Fig. 4). The top stitch of each cross must always be made in the some direction.
French Knot: Bring needle up through hole wrap yarn once around needle and insert needle in some hole, holding end of yarn with non-stitching fingers (Fig. 5). Tighten knot; then pull needle canvas, holding yarn until it released.
Gobelin Stitch: This basic straight stitch is worked over two or more threads or intersections. The number of threads or intersections may vary according to the chart (Fig. 6).
Lazy Daisy Stitch: Bring needle up at 1, make a loop and go down at 1 again (Fig. 7). Come up at 2, keeping yarn below needle’s point. Pull needle through and secure loop by bringing yarn over loop and going down at 2. Fig. 7
Mosaic Stitch: This three-stitch pattern  forms small squares (Fig. 8).
Overcast Stitch: This stitch covers the edge of the canvas and joins pieces of canvas (Fig. 9). It may be necessary to go through the some hole more than once to get an even coverage on the edge, especially at the corners.

Smyrna Cross Stitch: This stitch is worked over two threads as a decorative stitch. Each stitch is worked completely before going on to the next (Fig. 10).Fig.10
Tent Stitch: This stitch is worked in vertical or horizontal rows over one intersection as shown in Fig. 11. Follow Fig. 12 to work the Reversed Tent Stitch. Sometimes when you are working Tent Stitches, the last stitch on the row will look “pulled” on the front of your piece when you are changing directions. To avoid this problem, leave a loop of yarn on the wrong side of the stitched piece after making the last stitch in the row. When making the first stitch in the next row, run your needle through the loop (Fig. 13). Gently pull yarn until all stitches are even.

With a deeply colored stone as its centerpiece, this necklace suggests the riches of a mysterious woman.
A peyote-stitched bezel—worked with seed beads that decrease in size to hold the stone in place—is held
aloft with lacy layers of netting.

Design By: G l e n d a P a y s a n o

M a t e r i a l s
40mm round dolomite marble cabochon
Size 10° pale purple matte seed beads
Size 11° purple seed beads in 5 assorted finishes and shades
(dark silver-lined, dark transparent, medium frosted, pale
matte, and pale pearl finish)
Size 15° dark purple hex-cut seed beads
Size 15° pale purple seed beads
16 size 8° medium purple seed beads
8 lilac 4mm fire-polished rounds
4 dark purple 6mm fire-polished rounds
8 silver 5mm daisy spacers
2 crimp tubes
Clasp
Size D Nymo beading thread
20″ of .012 beading wire
To o l s
Size 12 beading needle
Scissors
Wire cutters
Crimping pliers
Figure 1 Figure 2
Figure 3
Figure 4
Techniques

Tubular peyote stitch, brick-stitch netting, stringing, crimping Finished Size 16″

BEZEL
Step 1: Use 4′ of thread with a needle on each end to work tubular peyote stitch. Use one needle to work the front of the bezel and the other to work the back.
Rounds 1 and 2: String 1 size 10° (Round 1) and 1 size 11°
(Round 2) thirty-eight times, or use enough beads to reach around the circumference of the cabochon. Pass
through the first bead again to form a circle, leaving a 2′ tail.
Round 3, front: String 1 size 11° and pass through the next size 10°; repeat around. Step up by passing through the first bead of this round (Figure 1).
Rounds 2 and 3, back: Use the tail thread to repeat Round 3 on the other side of the size 10°s (Figure 2).
Rounds 4 and 5, front: Work 1 size 11° in each stitch; step up at the end of each round. Slip the cabochon inside the beadwork and check for fit. The rows for the back should come to the edge of the stone and the rows in the front should lie just above the curve of the stone (Figure 3).
Round 4, back: Work 1 size 11° in each stitch; step up at the end of each round.
Round 6, front: Work 1 size 15° hex in each stitch, pulling the thread tight to cinch the tube around the stone.
Rounds 5–9 back: Work 1 size 15° in each stitch, pulling tight to cinch the tube (Figure 4). Weave the tails through several beads to secure, then trim close to the work.
BASE STRIP
Step 2: Foundation row. Use 4′ of thread to begin a strip of 1- and 2-drop peyote stitch. The single beads along the top are a mix of size 11°s (A), and the 2-bead stacks along the bottom are dark purple size 11°s (B).
Start: String 1A and 4B. Pass back through the A, leaving a 10″ tail (Figure 5). Stitch 1: String 1A and pass down through the last 2-bead stack (Figure 6). Stitch 2: String 2B and pass up through the last A (Figure 7).
Repeat Stitches 1 and 2 for about 9″ (Figure 8).
Step 3: Picot. Flip the beadwork over to work a picot edge along the 2-bead edge of the foundation row from left to right. Start: String 1 dark purple (B), 1 light purple (C), 1 dark purple (B). Pass under the thread between the second and third 2-bead stack, then back through the last bead strung (Figure 9). Stitch: String 1C and 1B. Pass under the next thread, between the third and fourth stacks, then back through the last bead (Figure 10).
Continue adding 2 beads at a time and passing under the thread between the stacks and back through the last
bead (Figure 11). Leave the thread tail at the end.
NETTING
Step 4: Attach the cabochon bezel at the center of the foundation row (Figure 12). Do not worry about the exact placement—the bezel may be centered at each end by the tail threads in Step 10. Start: Using 4′ of thread, pass through a size 10° of the bezel leaving a 2′ tail. Working from left to right, *string 3B
and pass up through an edge bead of the foundation row, then down through the next bead. Pass back
through the last 3B and through the next size 10° of the bezel.
Stitch 2: Repeat once from *.
Stitches 3 and 4: String 2B and pass up through the last edge bead and down through the next bead; pass back through the last 2B and through the next size 10° of the bezel.
Stitches 5 and 6: Repeat Stitch 2, stringing 3B for each stitch. Pass each tail thread through 1 size 11° and 1 size 10° to begin netting.
Step 5: Netting Row 1. Use one of the tail threads from Step 4 to work the first row of brick-stitch netting along the foundation strip (Figure 13). Start: String 5C and 2B; pass under the fourth loop from
the last connecting stitch along the foundation row and back through the last 2B. Stitch 1: String 2B; pass under the next loop and back through the last 2B. Stitch 2: String 3C and 2B; pass under the next loop and
back through the last 2B. Stitch 3: String 2B; pass under the next loop and back through the last 2B. Stitch 4: String 7C and 2B; pass under the fourth loop and back through the last 2B. Repeat Stitches 1–4 four times, then repeat Stitches 1–3 at the end of the row. Repeat entire sequence using the thread on the other side of the cabochon.

Step 6: Netting Row 2. Secure a new thread at one end of the foundation strip, exiting the last 2B of the previous row.
Start: String 3B, 1 frosty purple (D), and 2B; pass through the first C of the previous row and back through the last 2B.
Stitch 1: String 3D and 2B; pass through the third C of the previous row and back through the last 2B.
Stitch 2: String 3B; pass under the loop between the next two stitches of the previous row and back through the last 3B.
Stitch 3: String 11D and 3B; pass under the loop between the next two stitches of the previous row and back
through the last 3B.
Stitch 4: String 2B; pass through the first C of the next stitch of the previous row and back through the last 2B. Repeat Stitches 1–4 four times, then repeat Stitches
1 and 2. String 7D and pass through the second and third size 10°s along the edge of the bezel.
Step 7: Netting Row 3. String 12 silver-lined dark purple (E); pass under the first loop of the previous row and back through the last 3E. Repeat as in Row 2, stringing 13E in place of the 11D.
Step 8: Netting Row 4: Repeat Row 2, using 16 matte opaque light purple in place of the 11D. String 11 beads to attach the last loop to the bezel at the end of the row.
Step 9: Netting Row 5. Repeat Row 3, stringing 18B to begin and 17B in place of the 11D.

Step 10: Adjust the foundation strip if necessary so that each end is the same length; the accent beads and clasp will add 31⁄2″ to each end of the strip. Finish the tail threads by passing through the foundation strip and tying knots between bead; trim close to the work.
Step 11: Stringing. Cut 10″ of wire and pass through the last two beads of the foundation strip. *String 5B on each end of the wire. Hold both ends evenly together to string 1 size 8°, one 4mm, 1 size 8°, 1 spacer, one 7mm, 1 spacer, 1 size 8°, one 4mm, and 1 size 8°. Repeat from * once. Use both ends to string 1 crimp tube, then pass each end in opposite directions through one half of the
clasp; pass back through the tube, snug the beads, and crimp. Repeat on the other end of the strip.

Glenda Paysano has been beading for seven years, mostly making jewelry to sell at a local farmer’s market every summer. She loves teaching off-loom beading techniques at her online bead club, Beadchat
(http://groups.yahoo.com/ group/Beadchat). Contact Glenda at glendanow2000@yahoo.com.

Right-angle weave,
Linda L. Jones designed her cuff (above) with a side edging of teardrop beads, which adds movement and a bit of width. The other cuff has a more symmetrical look (right). Embellished, modified rightangle-weave units create an open base that is filled in with ladder-stitch sections
Designed by Linda L. Jones

MATERIALS
bracelet 71/2 in. (19.1 cm)
10 6 x 9 mm teardrop beads
Czech fire-polished beads 966 mm
1204 mm
24 3 mm Czech fire-polished beads or round silver beads
5 g size 11 Q seed beads in each of 2 colors: A, B
multistrand slide clasp (Rio Grande, riogrande.com)
size D nylon beading thread to match bead color
beading needles, #12

This dramatic cuff bracelet looks complicated, but it’s only a few simple stitches combined one layer at a time. Due to the nature of each technique, the thread can show in some places, so it is important to use thread that closely matches the color of your beads. Although this lends itself to a more monochromatic color scheme, you can use more than one color of thread if you want more contrast.

stepbystep
After completing the base of right-angle weave units, you will add four rows of square stitch and a clasp to each end. This will add about 11!z in. (3.8 cm) to the length. Keep this in mind if you are using a different type of clasp.
Base
[1] On 3 yd. (2.7 m) of thread, pick up an alternating pattern of a 6 mm fire-polished bead, and three color A 11 Q seed beads. Repeat three times (figure 1, a-b).
[2] Leaving an 18-in. (46 cm) tail, sew through the 6 mms again, skipping the As (b-c). The As should form points. If they don’t, use your needle to coax them into position as you gently pull the
thread to snug up the As. Sew through the next 6 mm and two As (c-d).
[3] Begin a 4 mm fire-polished-bead unit by picking up an A, a 4 mm, three As, a 4 mm, three As, a 4 mm, three As, a 4 mm, and an A. Sew back through the A your thread exited in step 2 and the first A added in this step (figure 2, a-b).
[4] Sew through the 4 mms again, skip¬ping the As (b-c). Sew through the next 4 mm and two As (c-d).
[5] Continue working in modified right-angle weave, adding one more 6 and 4 mm unit (figure 3, a-b).
[6] Flip your beadwork and work another row of alternating 6 and
4 mm units as shown (figure 4, a-b).
[7] Continue adding rows of alter¬nating units until you have 11 rows
or you reach the desired base length.
[8] Exit the center A on the end unit of one of the vertical rows (figure 5, point a). Pick up eight As and sew through the center A at the end of the next end unit (a-b). Repeat two times (b-c).
[9] Work a square stitch (Basics, p. 106) off the previous row using an A (c-d). Continue back across the row working in square stitch and using As until you reach the other end (d-e).
[10] Sew through the beadwork to exit

point f. Work 20 square stitches off the previous row using As (f-g).
[11] Using As, work the last row in square stitch, incorporating the clasp into the beadwork by sewing through each loop on the clasp as you get to it instead of adding an A (photo). Sew back through the last row, secure the working thread in the beadwork with a few half-hitch knots (Basics), and trim. [12] Repeat steps 8-11 with the tail.
Embellishments Center embellishments
[1] Secure a new thread (Basics) in the beadwork and exit figure 6, point a. Pick up a 3 mm bead. Sew through the opposite 4 mm, the next three As, and the 6 mm in the next unit in the vertical
row (a-b).
[2] Pick up a 4 mm and sew through the opposite 6 mm, the next three As, and the 4 mm in the next unit in the vertical row (b-c). Continue adding 3 and 4 mm beads to the centers of the 4 and 6 mm units until you reach the end of the first vertical row. After adding the center embellishment to the last unit, sew through the beadwork to exit point d. Ladder-stitch sections
[1] Work four ladder stitches (Basics) using two B 11 Q seed beads per stitch as shown (d-e). Connect the ladder section to the next 4 mm unit in the previous vertical row by sewing through the
4 mm and the last two Bs in the ladder twice (e-f). Weave back through the ladder to reinforce it (f-g).
[2] Sew through the next two 4 mms (g-h), pick up a 3 mm, sew through the opposite 4 mm, and continue through the next two 4 mms (h-i).
[3] Work a ladder stitch section as in step 1, and connect it to the next 4 mm unit in the next vertical row (i-j). Sew through the next three As and 6 mm in the next unit in the same row G-k).
[4] Add embellishments to the center of each 4 and 6 mm unit, and ladder stitch sections to all the internal 4 mm unit beads.
[5] Secure the tails in the beadwork and trim.
Teardrops
[1] Secure a new thread in the bead¬work and exit along one edge of the bracelet (figure 7, point a).
[2] Pick up an A, a teardrop bead, and an A. Skip the center A and sew through the next A (a-b). Sew through a 4 mm, three As, a 4 mm, and the next A (b-c).
[3] Pick up an A, a teardrop bead, and an A. Skip the center A and sew through the next A, 6 mm, three As, 6 mm, and the next A (c-d).
[4] Continue adding teardrops between the edge units until you reach the other end. Secure the tails in the beadwork and trim.

Contact Linda at (902) 477-1379, thatjoneswoman@gmail. com, or visit her Web site,
bornunderabeadsign. blogspot.com.