Creative Crafters magazine and a Bangle, and more!

Thankfully, it is the Fall again. I could live in the Fall the entire year - not too cold, not too warm, a mix of beautiful weather and lovely rain, warm during the day, fresh during the night, an occasional foggy morning, splendid colors in nature and marvelous light... and good food - it's a season of abundance. 

Panoramic view - perhaps open it in a new window,
to increase it and better appreciate it.

 

The photo above is a view of my place end September 2025. Hubby and I went for a walk, and there is a bench allowing people to enjoy this gorgeous view of the mountains and the lake (you can see our shadow left in the image). Soon the green leaves will all be yellow or red, with more beautiful walks to look forward to.

and more delicious food 😋 

First stew of the season - I made a mustard 
sauce after removing the veggies. 

 

It's been a while since I wrote something here. The intense socializing during IBW is so overwhelming (in a good way), that some sort of social "estivation" seems to happen (for those who wonder, that's similar to hibernating, but in the Summer :) The increasing warmth in the summer here is a real antidote to hyperactivity too. Walks and bike tours are reduced to the minimum (nearly none at all...) and doctor and physio appointments are avoided as much as possible. This year was particularly frustrating, because passed the heatwave, the weather was just fabulous and I was very envious of whomever could go to the lake and swim and sunbathe... sigh. 

Mel made a fun screenshot of me
doing my IBW talk.  It's been an absolute
delight to see so many Ubuntu Dishes pop up in
my newsfeed after that!

 

I didn't see the time go by though. It's incredible to see that we are October already. Thinking about it, I realized that each year the first half is fully booked, with one or two projects for the Beadworkers Guild Challenge; a lot to prepare for International Beading Week, and more commitments like workshops, writing instructions for projects for the Guild's Journal and, this year, 6 projects for the online magazine Creative Crafters. This explains why I design nearly nothing new. 

I had a lot of fun beading Nancy Kooijers Jenner's lovely gumdrop bird and gave it the colors of my little bird Charly, a Zebra finch. It went to my giftee in the IBW gift exchange, so I made a second, slightly different one. I had a good spot for this cutie: the oak tree that I made during a Beading Festival Zoom get together.

 

In fact, I didn't really have an "estivation" and was rather busy: I started beading my next BWG challenge project (which I might not finish in time, but will try), and wrote instructions for the "Rings" Meet Mingle and Make Zoom meeting. I will publish this pattern real soon in my shop. This "Colimabangle" was made a long time ago, but I didn't pattern it back then. It is a bangle/bracelet made with Tubular Diamond Weave Variation #8. 

 

 

 

 

 

 

 

 

 

 

My husband and I also worked hard to give our apartment a bit of a makeover, and did a lot of things like painting, carpeting, changes in furniture, etc. We still aren't completely done, but I'm a rather happy camper.

My beading "studio" is still the size of a 'handkerchief', and it will be upgraded some day, but it works well enough for my workshops. I now have a comfy recliner for beading in the living room - but light has to be improved. It's a relief to have that big Kallax cabinet for all my beads. Things were starting to take over the living room. Now it's nearly all in one place, but at least everything has a place. I kept all my boxes and trays and vials and tubes, etc... it's all in there, and many more other things. Happy dance!  

 

My little studio

 

This all being said, I thought that I should show you my designs published in the Creative Crafters magazine this year. It's an e-publication created for beaders by beader and editor Cheryl Bryan. She is the talented designer behind "Hookin' to the beat" designs. You can still get access to these magazines if you go to Cheryl's shop, where the magazine is sold in separate issues. The price is lower than a single pattern! And if you sign up for next year's 6, you'll save even more per issue. It's a real bargain, for there are loads of lovely designs in it.

My contributions were all Diamond Weave designs, offering a condensed experience of what you can learn from the Diamond Weave Book, plus an extra: tubular Diamond Weave.

In January the project was a pair of very simple earrings made with the Basic stitch, to explain the ABC of Diamond Weave.

January - basic DW earrings

March - Giverny bracelet

 

In March, I introduced the Giverny bracelet, made with variation #3 of the stitch (with buttonholes), in the colors of the beautiful waterlily pond of Monet's garden. It is a full hexagon stitch that shows the beader how extension beads and bridge beads (both horizontal) transform the square units - the structural beads - into hexagonal units. This project was included in the Diamond Weave book. The next projects, in particular the one in September, are built on the knowledge acquired with this variation.

 

May: Diamond Weave variation #7

 

In May, I explained how the incredibly versatile variation #7 - a nice octagonal stitch to use with seed beads as well as other beads - were given along with examples of hhow it can result in plenty of different looks depending on the beads used. 

July: Inkpots - Var. 9

Bonus: Gate to Paradise

 

In July, the project "Inkpots" made with variation #9, introduced the beaders to the particular role of thread cover beads, namely how they stabilize the beadwork, and how seed beads can shine in Diamond Weave. I added the "Gate to Paradise" as a bonus pattern, a design that somewhat introduced the next project, that is the use of thread cover beads and how to draw patterns with the beads in DW variations with seed beads.

For the September issue, I patterned one of my favorite designs, the Celestial cuff, to which I added planet Uranus (the original one included a sun, the moon and stars). I really like to draw simple motifs with stitches like this.

 

Celestial Cuff

 

For the upcoming November issue, the last of this series, these cute "Linda" earrings will explain how to do tubular Diamond Weave:

 

November: Linda earrings, here in fruit colors

Linda earrings in blue & gold

It all starts with this super small cube:

All together, these projects encompass a major part of the knowledge you'll learn from the Diamond Weave book, but not everything. In the book, there is more, much more, but the tubular project is 'new'. I mean, I made the Linda earrings quite some time ago but didn't tutify them. Back then, I called them "beautiful", which is the meaning of the name Linda, Linda sounds much nicer, and I have a very lovely friend on FB called Linda, hence the name change.

This reminded me of a medley of tubular Diamond Weave stitches that I made into a simple lariat rope some time ago - each segment is a different variation, to remind me how they look: 

 

           

I wonder if there are folks out there who are interested in Diamond Weave ropes. I hope so, because it's a fun stitch, and not as difficult as one would think.

I miraculously found time to make a special pendant for myself with a cabochon that I purchased a long time ago from Designers Cabochons (a UK-based lapidary wizard). It has a hole in its center which allowed me to attach beads, and I love the look. The back is leather, the bail is a Petal (from my Petal to Pod method) and the necklace is made of 4 pearl strands. I love to use pearl strands to add pendants. I hope that you like my "Mended Heart":

 

If you are still here reading this, thank you! I initially didn't think that I had so many things to tell! Lol! 

Thank you for for taking a bit of your time, for being a friend, and for your continuous support.  

Happy Beading,

 

Cath 

Ubuntu - IBW 2025

 Hi folks!

Just a quick blurb about my latest design, the IBW 2025 "Ubuntu" dish. It's been great fun making even though it was a real fight with tendonitis and other aches. I am so happy with how it turned out.  

 

The dish design is based on the one made by Dutch paper sculpture wizard Henk van den Vorst (a compatriot!). 

 

 

Diane Fitzgerald posted a photo of this dish some time in May or June last year, asking if, and perhaps how it could be made with beads. I was sure that it would be possible with 12 elongated warped pentagons, and proposed to try for IBW 2025. I mean, I somehow "saw" the shape in his vessel and all that I had to do was find out how to make the shape with beads. Beads have their own will so I was quite happy that I found what I wanted quite quickly, but it took a bit more time to bead the first half to see if it would actually work. It worked, but I found out that I'd need 14 pentagons. The two additional colors in the dish are the red and blue beads. All the beads are Miyuki opaque Duracoat, the black and white  ordinary opaque beads.

I added tiny little feet at the bottom. Here the piece seen from below. You can see that it is very similar to Henk's vessel:

 

The pattern will be posted on my website, during International Beading Week. It is a workshop on increases on its own and I will do a demo - check out the Beadworkers Guild website to book a seat for the zoom meetings. We always have so much fun during these sessions. 

It has a wonderful size, approx. 12cm in diameter, which allows to empty one's pockets when coming home, which is what dishes like this are for... at least here in my French region where it's called a "vide-poche" which translates to "pocket-emptier". I made a photo with my pearl necklace inside:

  

 

While creating the piece, my muse ran wild and talked me into making roofs for a tower and for a carousel, or a swing... crazy muse who doesn't care that my arms hurt. I hope to be able to make these things... soon, hem, hem. But don't hold your breath 😅

Why did I call this piece Ubuntu? 

The dish reminded me of a  photograph of African boys sitting all together in a circle, their legs drawing a flower. The caption said “Ubuntu”, and that it meant “I am because we are”.

 

 

  

I searched for the meaning behind it and found many explanations, all more or less the same as Nelson Mandela’s: 

“In Africa there is a concept known as 'ubuntu' - the profound sense that we are human only through the humanity of others; that if we are to accomplish anything in this world it will in equal measure be due to the work and achievement of others.” 

This piece is the fruit of inspiration and knowledge transmitted by Henk (the dish), Diane (shaped beadwork), by Helen McIntyre (the Back-through increase) and myself (geometric beadwork) and probably many others. This, and the similarity with the photo of the boys, is why I called this piece “Ubuntu”,

I am because we are.

 

Love to all,

 

Cath

Venecia en Río de Orleáns - or how to bead together when living afar - our BWG group challenge project

If last year I beaded and patterned a real lot for our SIZB Group challenge (Bead a Song - English Country Garden) but didn't write as much as I would have wanted, this year I did a lot of coordinating and drawing, less patterning, but there is a loooot that I can tell about it, which is what this blog is all about! Beading trials and tribulations.

This is what our group made for this year's challenge: a float with a tractor, with people dressed in traditional New Orleans Mardi Gras colors, with Venetian bridge-inspired railings and lamp posts, including the amazing pattern of the cobblestone pathway of Ipanema Beach in Rio the Janeiro. 

In this post you will discover how, as a Zoom group, we created our Venecia en Río de Orleáns float.

Our Venecia en Río de Orleáns float

Inspiration & study

When the theme "Mardi Gras" was announced we all agreed to make a float, but what we'd put on the float was unclear. Sylvia asked us for ideas and possibly patterns without particular guidance, to see what we would come up with. My muse went in overdrive mode once the theme and float idea sunk in. I knew that I would not be able to bead a lot myself, because of numerous commitments (and a Carnival mask in the make for my own BWG challenge entry), but... I was completely besotted with what the muse threw at me and couldn't stop drawing. I first investigated quite a bit about the regulations, notably maximum size in length, height and width, safety requirements one has to respect, such as railings for the people on the float, and fire extinguishers, etc. We really wanted it to correspond to a real-life float.

I made plans for a double float with a tractor and a bridge inspired by the Rialto bridge in Venice. Yes a double float - more about that later. Everything is at a 1/24 scale, except the bridge of course, which is a Carnival decor that offers the perfect railing.

I made an inspiration board, and the photos below were part of it:

The Rialto Bridge in Venice

Street lamps at Piazza San Marco

Mooring plots in Venice

Mardi Gras costumes

Color of the water in sun light or shade
photo by Helen McIntyer who went
to Venice and found inspiration for
the water.

A tractor with just the right green and yellow
but we preferred purple for our tractor.

Ipanema cobblestones

 

Designing (and beading)

This is more or less what the project looked like when I finished the sketches (and curtain patterns made).

View from the left and the inside. Of course many more details
and more paper work was done.

Fortunately for my crazy muse, our group is blessed to count amazing beaders and designers who all were willing to do this project together and who did an awesome job. We met through Zoom every 2 weeks to talk about our progress and various details and needs, and it was great fun!

Béné Damnet, together with her husband Jean-Luc, created an absolutely fantastic truck with a big hook that the builders would be able to trim to size when connecting the floats. They made a base that Béné would cover with beads with as many techniques as she could think of (Brickstitch, Peyote stitch, "Huichol" bead mosaic, Herringbone stitch... and Jean-Luc added special features: real lights, even a flash light on the roof! The battery is hidden inside the truck and can be accessed behind the number plate added by Sylvia, who also beaded to cover the truck. Isn't it stunning?! 

For the stairs of the bridge, just plain stairs could have been made, but Jess Hayman's muse fell for the cobble stone patterns that can be found in Rio de Janeiro, specifically the ones near Ipanema beach. I cannot express how stunned I was when she showed her first CRAW step with the successful motif AND the perfect size...I am still stunned how this motif repeats itself so beautifully. It's just incredible.

from step

 

to stairs

Jess also designed and beaded the remarkable two-drop Peyote stitch stone work under the bridge. I designed the CRAW arches. Our beaders, Shawn Brown, Gillian Watson, Vee Pretorius, Angela Bramwell, Jess and Sylvia all did a sterling job.

to bridge

 

I don't know if you can imagine the feeling you can get from seeing a product that really corresponds to what was only an mental image, but I was incredibly happy to see how well the bridge turned out!

Violetta (Vee) Pretorius designed and Square-stitched the small yet indispensable fire extinguishers for under the bridge. Aren't these the cutest little miniatures? 

Liz Thornton designed and beaded the wheels for the trailers (sorry no photo, but they are rather small and discreet).

Jenny Wilson designed and beaded the lamp posts which I absolute love. Jenny was part of the building team who created the hardware (float) and put everything together.

I designed and beaded the caps for the tall mooring poles in the water near the bridge with diagonal Cellini Peyote, and Ann Musty made the white and red poles in tubular Peyote.

Meanwhile, Marion Dearlove and Nancy Jenner each designed and wrote two patterns for male and female figures for our beaders to make and dress up as desired. Here, our beaders could shine with their own ideas. Stringing, Brick stitch, Peyote stitch, Netting, Fringing, Picot stitch, RAW, Herringbone, and Saint Petersburg stich, and probably also a bit of Square stitch!

Marion made a tribe of many colors dressed in the traditional 
green, purple and gold colors seen in New Orleans

 

Girls and Boys by Nancy Jenner

 

Diane Young's boys

 

Ann Rust's Dancers

 

Vee made two jesters showing
her amazing geometric skills

 
I don't have photos of all the little persons, but in the photo of the materials that you will find near the end of this article you can probably spot other dolls made by Christine Jones or another building team member. Below is my girl, based on Nancy Jenner's model, and Marion's pattern for her little hands.

 

I beaded a second tiny mask for a potential partner... which I could not bead myself because of tendonitis in my shoulder. I was inspired by a gown that I saw on Amazon for Carnival.

In the images here you can see some of the Brick stitch diamonds that I designed to decorate the bridge arches, to show that with 4 colors, the possibilities are endless.

Some were beaded by Kay Brown, Sharron Smith and Christine Jones, but Marion Dearlove also designed her own diamonds.

Now the curtains. Why curtains? Well, curtains hanging from bridges seems to be quite a thing in Venice. They're the equivalent of large advertisement panels on the side of our roads. Because the bridge was to be cut in two pieces - one piece per "half" trailer", these two curtains would finish them beautifully. The pattern is based on a Brick stitch pattern by Béné, which I transposed to Herringbone stitch. They are there like an affirmation of the colorway we chose.

These two curtains were exquisitely beaded by Denise Bending and Teresa Sagaser.

And so our mighty building team, composed of Jenny Wilson, Jenny Argyle, Helen McIntyre, Jess and Sylvia, inherited a considerable pile of beaded items to put together in a very small space.

Putting it all together

It's been an herculean task for our building team. A lot of work and very little sleep is what they had during the week-end they could meet to work on it.

Tough job: in this image you can see all the elements beaded by the participants

 

Helen had already worked on a beautiful 3-drop stitch design to mimic the ripples on water in the canal, and pushed the details farther by making the water in the shade of the bridge darker than that in the sunlight. I think that it is truly magnificent. She also made the pavement of the streets near the bridge, after trying various combinations of Tila beads. It is beautiful too, and I think that it was made with Square stitch. 

Helen's water sample

Now if the pavement had to be seriously reduced, she had to bead a lot more to cover the portion in between the two half bridges that had to be together on one trailer.

 

 So what happened for the float to become a single one instead of a double...

 Well if yours truly' s muse is great at throwing ideas at her, it appears to be less clever when it comes to measurements. I thought that the available space was 60cm x 60cm and knew that the double float could only fit in the required limits if placed in the diagonal, but apparently, the maximum space available was 45cmx60cm and it didn't fit. Sadly, only one trailer meant removing a huge amount of space before and behind the bridge and I have to say that I cried inside (and I still cry, but it would simply have been too risky to try to push the walls and be disqualified).

It looks as if it would still work on 45x60 but alas...
I was soooo disappointed

 

These are the pitfalls of working apart together and last-minute solutions to be found.

Unsurprisingly, we didn't win our category this year... The judges were immensely impressed by it and had a hard time choosing. They wrote a truly lovely appreciation, with plenty of compliments, but one thing I don't understand is that they said that "it was hard to find areas for improvement[...] it would have been amazing if the tractor could have been able to move the float! Incorporating even more stitches would have elevated the piece even further". Well... I have manners and won't say what I really think about that last remark...

Yummy snacks - I could
use some...

For me, a bridge cut in half for no obvious reason simply doesn't make sense and, despite the yummy fuel available, the team could not bead another xx hours to make a central piece... Helen already had to complete the portion of water that was missing, and the street lamps had to be finished too. And the other projects entered in the challenge were all of amazing quality.

 

But you know what?

The members voted for us as best Group project, which is wonderful, for there were 7 very good group submissions, and they are beaders with skilled eyes. Yay!

Another nice thing is that I can show all the photos that I want to, without cutting the grass under the Guild's feet who like to have a bit of exclusivity when publishing interviews of the winners with photos of the works in the July journal, so it might sound odd, but it is nearly nice to not win: we can brag about our beadwork!

My thanks to all of our designers and beaders who beaded their fingers off and to the husbands of the ladies who helped with hardware... Geoff Wilson and Jean-Luc Damnet.

Thank you for reading this far! Please leave a comment to tell what you prefer on our float!