All basic needlepoint stitches are made diagonally over one intersection of canvas threads. These stitches look the same on the front of the canvas-see photo-the back side is what shows the difference. The other needlepoint stitches which slant in different directions and cross several meshes at a time are known as Bargello or canvas embroidery.

CONTINENTAL STITCH and HALF CROSS STITCH
work rows straight from right to left. Yarn goes from a lower left mesh to an upper right mesh (stitches are diagonal on both sides of canvas).
Half cross stitch is worked from left to right. Take a whole stitch through the canvas, needle going in and out on one stitch-see illustration

BASKET WEAVE OR DIAGONAL TENT STITCH:
(So called because the back of work looks like a basket weave.) Each square on diagram represents one large hole on canvas. Stitches are worked upward and diagonally to the right. Rows are worked diagonally up and down. Broken lines and arrows on diagram indicate direction of rows. Numbers indicate order in which stitches are worked. Except for those holes around outer edge of work, each hole is used twice. At uneven numbers above broken line in each square, bring needle up from wrong side At even numbers below broken line in each square, bring needle down from right side. EXAMPLE: Bring needle up from wrong side at 1, down at 2 from right side for first stitch; up at 3, down at 4 for second stitch; up at 5, down at 6 for third stitch, and so on. To begin an upward row, work first stitch directly below last stitch of previous row-as up at 7, down at 8.
To begin a downward row, work first stitch directly to the left of last stitch of previous row-as up at 13, down at 14. To begin a downward row on a left straight edge, work first stitch directly below last stitch of previous row-as up at 57, down at 58. To begin an upward row on a lower straight edge, work first stitch directly to left of the last stitch of previous row-as up at 69, down at 70.

CANVAS EMBROIDERY STITCHES

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.

Materials: One Pound; 2 skeins Azure (Color A), 2 skeins Off White (Color B), 2 skeins Taupe (Color C), 2 skeins Country Basket Ombre (Color D).
PLEASE NOTE: Yarn usage may vary depending on your particular yarn techniques.
Needles: Size I crochet hook.
Finished Size: Approximately 50″ x 85″.
NOTE: When changing color, before pulling last loop(s) of old color through, drop old color (let hang), yarn over with new color and pull through loops(s). With Color A, ch 192.
Row 1: Sc in 3rd ch from hook and in next 27 chs, * change to Color B, sc in next 27 chs, change to Color A, sc in next 27 chs, repeat from *, end sc in last ch, ch 2, turn.
Row 2: Skip first sc, * working in front, dc around post of each of next 3 sc (FPDC), working in back, dc around post of each of next 3 sc (BPDC), repeat from * across picking up new colors where left off; end hdc in turning ch, ch 2, turn.
Row 3: Skip first st, * FPDC around FPDC, BPDC around BPDC, repeat from * across, picking up new colors where left off, end hdc in turning ch, ch 2, turn.
Row 4: Skip first st, * FPDC around BPDC, BPDC around FPDC, repeat from * across, picking up new colors where left off; end hdc in turning ch, ch 2, turn.
Row 5: Repeat Row 3. Rows 6 – 21: Repeat Rows 2 – 5, fastening off each color on
Row 21, turn. Row 22: (Cable Row) Join Color D with sl st in first st, sc in same st, * ch 3, sk 2 st, sc in next st, turn. Sc in each ch of ch 3, sl st in next st, turn. Working behind ch 3, sc in skipped sts, repeat from *, end sc in turning ch, turn.

Row 23: Join Color B with sl st in first st, ch 2, [* 2 sc in next st, sc in next st, repeat from * until there are 27 sc (do not count beg ch 2), join Color C, ** 2 sc in next st, sc in next st, repeat from ** until there are 27 sc], join Color B, repeat from [ to ] across, end sc in last st, ch 2, turn. Rows 24 – 43: Repeat rows 2 – 21.
Row 44: Repeat row 22. Rows 45 – 175: Repeat rows 23 – 44 six times, omitting row 44 at end of row 175 and alternating colors as indicated by rows 1 – 44. Add fringe of your choice.

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.

copyright Crochet fashion by Paula L. F. Bennet

Pattern Notes
Weave in loose ends as work progresses.
Soles are crocheted with 2 strands of yarn held together; rem of slipper is crocheted with 1 strand.
Sole
Rad 1: With 2 strands of blue yarn, ch 10 (12-14-16), 3 hdc in 2nd ch from hook, 2 hdc in next ch, hdc in each next 5 (7-9-11) chs, 2 hdc in next ch, 3 hdc in last ch (heel), working on opposite side of foundation ch, 2 hdc in next ch, hdc in next 5 (7-9-11) chs, 2 hdc in next ch, sl st to join in first hdc, (24-28-32-36)
Rnd 2: Ch 2, hdc in same st as beg ch-2, 3 hdc in next st, 2 hdc in each next 2 sts, hdc in next 7 (9-11-13) sts, 2 hdc in each next 2 sts, 3 hdc in next st, 2 hdc in each next 2 sts, hdc in next 7 (9-11-13) sts, 2 hdc in next st, sl st to join in top of beg ch-2. (36-40-44-48)
Rnd 3: Ch 3, 2 dc in each next 2 sts, 3 dc in next st (center toe), 2 dc in each next 2 sts, dc in next 4 (5-6-7) sts, sc in next 9 (10-Il-12) sts, 2 sc in each next 2 sts, 3 sc in next st (center heel), 2 sc in each next 2 sts, sc in
next 9 (10-11-12) sts, dc in next 3 (40-5-6) sts, sl st to join in top of beg ch-3, fasten off. (48-52-56-60)
Slipper Sides
Rnd 1: Working in back Ips only, attach 1 strand blue yam at center back heel, ch 1, sc in same st as beg ch- 1 sc in each st around, sl st to join in beg sc, fasten off.
Rnd 2: Attach 1 strand gold yarn at center back heel, ch 2, hdc in each sc around, sl st to join in top of beg ch-2, fasten off.
Rnd 3: Attach 1 strand blue yarn at center back heel, ch 2,. hdc in each st around, sl st to join in top of beg ch-2.
Rnds 4 & 5: Ch 2, hdc in each st around, sl st to join in top of beg ch-2, At the end of Rnd 5, fasten off.
Instep Make 2
Rnd 1: With 1 strand of blue yarn, ch 5 (7-9-11),3 hdc in 2nd ch from hook, 2 hdc in next ch, hdc in next 0 (2-4-6) chs, 2 hdc in next ch, 3 hdc in last ch (toe end), working on opposite side of foundation ch, 2 hdc in next ch, hdc in next 0 (2-4-6) chs, 2 hdc in next ch, sl st to join in top of first hdc, turn.
Row 2: Ch 2, hdc in next 3 (5-7-9) sts, 2 hdc in each of next 2 sts, 3 hde in next st, 2 hdc in each next 2 sts, hdc in next 4 (6-8-10) sts, leaving a length of yarn, fasten off.
Turn slipper sole and sides inside out; place slipper sides wrong sides together. Mark center toe st of both slipper sides and instep. Thread needle with rem length of yarn. Matching sts carefully, working through both thicknesses, sew around instep. Turn slipper right side out,     .
Bottom Trim
Rnd 1: Working in rem free Ips of Rnd 3 of sole, attach 1 strand blue yam at center back heel, sl st in each st around, fasten off.
Cuff
Row 1 (Right side): Attach 1 strand blue yarn with sl st in first st on slipper side (same st where instep was joined), ch 1, sc in each st around to opposite side of instep, do not work across instep sts, turn.
Rows 2 & 3: Ch 1, sc in each sc of previous row, turn.
Row 4: Ch 1, working in back Ips for this row only, sc in each st across, turn.
Rows 5 & 6: ch I, sc in each sc across, turn.
At the end of Row 6, fasten off.
tongue
Row 1: Attach 1 strand of yarn with sl st in first st of instep, working in side edge of Rows, ch 2, work 8 hdc evenly sp across, turn. (9)
Row 2: Hdc dec over next 2 hdc, hdc in next 5 hdc, hdc dec over next 2 hdc, turn. (7)
Row 3: Hdc dec over next 2 hdc, hdc in next 3 hdc, hdc dec over next 2 hdc, turn. (5)
Row 4: sl st in each of next 5 hdc, fasten off.
Ties
Make 2
With 1 strand of gold yam, ch 80, fasten off.
Working through sts of Row 5 of cuff, starting at center back, weave over 2 sts, under 2 sts, to end of cuff; rep same on opposite side. Fold cuff Rows 4-6 down, pass end of tie through Row 1 of cuff, into edge of tongue and out at center of tongue; rep on opposite edge. Tie ends in a bow. Rep in same manner on 2nd slipper ..

Materials: Bernat” Berella” “4 Art. 164001 by Spinrite” or worsted yarn – 7 oz. each Geranium #8929 (red) and White #8942; 6″ square piece of cardboard; tapestry needle; J hook or hook size needed to obtain gauge. Gauge for this pattern:With two strands yarn held together, 6 sts = 2″; 4 sc back Ips rows = 11/2″; 4 dc rows = 3″.

BASIC STITCHES: Ch, sc, dc. NOTE: Hold two strands same color yarn together throughout.

Ribbing

Row 1: With white, ch 21, sc in second ch from hook, sc in each ch across, turn. (20 se made)

Rows 2-66: Working these rows in back Ips only, ch 1, sc in each st across, turn. At end of last row, do not turn.

Row 67: Working across one long edge, ch 1, sc in end of each row across, turn. Fasten off. (66 sc)

Hat

Row 1: Join red with sl st in first st of last row, ch 3, dc in each st across, turn. (66 dc made) Row 2: Ch 3, dc in each st across, turn.

Row 3: Ch 3, dc in next 8 sts, dc next 2 sts tog, (dc in next 9 sts, dc next 2 sts tog) across, turn. (60)

Row 4: Ch 3, dc in each st across, turn.

Row 5: Ch 3, dc in next 7 sts, dc next 2 sts tog, (dc in next 8 sts, dc next 2 sts tog) across, turn. (54)

Row 6: Ch 3, dc in next 6 sts, dc next 2 sts tog, (dc in next 7 sts, dc next 2 sts tog) across, turn. (48)

Rows 7-11: Ch 3, dc in each st across, turn.

Row 12: Ch 3, dc in next 5 sts, dc next 2 sts tog, (dc in next 6 sts, dc next 2 sts tog) across, turn. (42)

Rows 13-15: Ch 3, dc in each st across, turn.

Row 16: Ch 3, dc in next 4 sts, dc next 2 sts tog, (dc in next 5 sts, dc next 2 sts tog) across, turn. (36)

Rows 17-18: Ch 3, dc in each st across, turn.

Row 19: Ch 3, dc in next 3 sts, dc next 2 sts tog, (dc in next 4 sts, dc next 2 sts tog) across, turn. (30)

Rows 20-21: Ch 3, dc in each st across, turn.

Row 22: Ch 3, dc in next 2 sts, dc next 2 sts tog, (dc in next 3 sts, dc next 2 sts tog) across, turn. (24)

Row 23: Ch 3, dc in each st across, turn.

Row 24: Ch 1, sc first 2 sts tog, (sc next 2 sts tog) across, turn. Leaving long end for gathering, fasten off. Weave long end between sts of last row, pulling tight to gather. Fasten off. Sew sts of Ribbing and ends of rows on Hat together. Fold Cuff in half over Hat.

Porn-Porn

Wrap white around cardboard 100 times, slide loops off cardboard; tie separate strand around middle of all loops. Cut loops, trim. Sew to end of Hat.”

Make a cute holiday pin, ornament, or pendant. Select a handful of crystals and go to work!
Designed by Diane Schroer
MATERIALS
one tree 13/8 x 13/4 in. (3.5 x 4.4 em)
8 mm star or other accent bead
4 mm bicone crystals 49 color A
8 color B
7-8 assorted 4 mm accent beads
3-25 size 11 Q or 15Q seed beads
monofilament cord, .010 (i.e.
Supplemax or Illusion Cord)
pin-back finding (optional)
E6000 adhesive (optional)
Future Floor Wax (optional)
G-S Hypo Cement
2 permanent markers, black and red
step by step

• [1] Cut llh yd. (1.4 m) of monofilament cord, and, using permanent markers, color one tip black and the other tip red. Center a color A 4 mm bicone crystal on the cord.

• [2] With the black end, pick up two As. With the red end, pick up one A, and cross through the second A picked up with the black end (figure, a-b and aa-bb).

• [3] Working in cross-weave, repeat step 2 twice (b-e and bb-ce). With the red end, go back through two beads as shown (ee-dd).

• [4] Continuing with the red end, pick up five color B 4 mm bicone crystals. Go through the second B picked up (dd-ee). Pick up three Bs, go back through the B you just went through (ee-ff), and continue through four Bs and two As as shown (ff-gg).

• [5] With the black end, pick up three As. Cross the red end through the third A just picked up (c-d and gg-hh).

• [6] With the red end, pick up four As, and go through the first one again in the same direction (hh-ii).

• [7] Pick up two As, and go through the next A on the previous row (ii-jj). With the black end, cross through the second A just picked up (d-e).

• [8] Repeat step 7, reversing the black and red ends (e-f and jj-kk).

• [9] With the red end, pick up two As, and go through the next A on the previous row (kk-II). Pick up four As, and go through the first one again (II-mm). Pick up an A and go through four As as shown (mm-nn). With the black end, go through two As so your cord ends are exiting opposite sides of the same bead (f-g).

• [10] With the red end, pick up three As, and go through the next A on the previous row (nn-oo). Pick up two As (oo-pp).

• [11] With the black end, go through two As as shown (g-h). Pick up four As, and go through the first one in the same direction (h-i). Pick up two As, and go through the next A on the previous row (i-j).

• [12] With the red end, cross through the second A just picked up (pp-qq). Pick up five As, go through the second one in the same direction, and continue through three As as shown (qq-rr).

• [13] With the black end, go through two As G-k).

• [14] With the red end, pick up three As (rr-ss).

• [15] With the black end, go through the third A just picked up. Pick up two As, go through the next A in the previous row and the A you just exited (k-I). Pick up two 11 Q or 15Q seed beads, the 8 mm star bead, and 11 to 13 seed beads. Sew back through the 8 mm, two seed beads, and A you just exited (I-m).

• [16] Use the tails to add colorful “bulbs” as desired using one or both of the following methods.

Exiting an A, pick up a 4 mm accent bead. Pass the cord through the next bead that’s parallel to the one you’re exiting, going in the same direction (photo a). Exiting an A, pick up a 4 mm accent bead and a 15Q seed bead. Go back through the 4 mm, and continue through an adjacent A (photo b).

• [17] Secure the tails witha few half-hitch knots (Online Basics) between beads, dot them with G-S Hypo Cement, and trim. 0

DESIGNER’S NOTES:
If you want to stiffen the beadwork, dip it in or brush it with Future Floor Wax.
To make a pin, add only one seed bead above the star, and sew back through the star before continuing. Stiffen the tree with floor wax, and glue a pin-back finding to the back of the beadwork using E6000 adhesive.

• ( 1) Pick up an even number of beads. These beads become the first two rows.
• ( 2 ) To begin row 3, pick up a bead, and go through the second bead from the end.(As you stitch, every other bead drops down half a space to form row 1.) Pick up a bead, and go through the fourth bead from the end. Continue across the row. End by going through the first bead picked up.To count peyote rows, count the edge beads in a zigzag pattern.

• ( 3 ) To start row 4 and all other rows, pick up a bead, and go through the last bead added on the previous row. To end a thread, weave through the work in a zigzag path several times to secure the tail. Begin a new thread the same way, exiting the last bead added in the same direction to resume.

Flat, odd-count peyote

• (1) Begin as for flat, evencount peyote, but pick up an odd number of beads. Work row 3 as in even count, stopping before adding the last two beads. Work a figure 8 turn at the end of row 3 as own:String the next-to-the-lastbead (#7), and go through #2, then #1. String the last bead (#8), and go through #2, #3, #7, #2, #1, and #8.This will position you to start row 4.

• ( 2 ) You can work this turn at the end of each oddnumbered row, but this edge will be stiffer than the other. Instead, in subsequent odd-numbered rows, string the last bead of the row, then loop through the edge thread immediately below. Go through the last bead to begin the new row.

• ( 3 ) Stitch the turn at the end of even-numbered rows as shown.

Zipping up or joining flat peyote To join two sections of a flat peyote piece invisibly, match up the two pieces so the edge beads fit together. “Zip up” the pieces by zigzagging through the up-beads on both edges.

Gradual increase

• (1) The gradual increase takes four rows. At the point of the increase, pick up two thinner beads. Go through the next up-bead.

• (2) On the second row of the increase, when you get to the two thinner beads, stitch through them as if they were one bead.

• (3) On the third row, place two regular-sized beads over the two thinner beads.

• (4) On the fourth row, go through the first increase bead, pick up a bead, and go through the second increase bead. Continue across the row.

Gradual decrease

• ( 1) The gradual decrease takes four rows. At the point of the decrease, go through two up-beads.

• ( 2 ) On the second row of the decrease, put two thinner beads in the open space, and go through the next up-bead.

• ( 3 ) On the third row, go through the two thinner beads as if they were one bead.

• ( 4 ) On the fourth row, pick up one bead, and go through the next up-bead.

Rapid increase

• (1) At the point of the increase, pick up two beads instead of one. Go through the next bead.

• ( 2 ) When you reach the two beads on the next row, go through the first bead, add a bead, and go through the second bead.

Rapid decrease

• (1) At the point of the decrease, go through two beads on the previous row.

• (2) On the next row, when you reach the two-bead space, pick up one bead.

Two-drop peyote
Work two-drop peyote stitch the same as basic peyote, but treat pairs of beads as if they were single beads.

• ( 1 ) Start with an even number of beads divisible by four.

• (2) Pick up two beads (stitch 1 of row 3), skip two beads, and go through the next two beads. Repeat across the row.

Tubular or circular
even-count peyote

• (1) Pick up an even number of beads to equal the desired circumference. Knot the thread to form a ring, leaving some slack.

• ( 2 ) Put the ring over a form if desired. Go through the first bead to the left of the knot.Pick up a bead, skip a bead on the previous round, and go through the next bead.Repeat around until you’re back at the start.

• (3 ) Since you started with an even number of beads, you need to step up to be in position to start the next round. Go through the first beads on rounds 2 and 3. Pick up a bead, and go through the second bead on round 3; continue.

• (4 ) If you begin with an odd number of beads, you won’t need to step up. The beads form a continuous spiral.