2002 Challenge Series Swaps

Beading

by AskSREBrad

AskSREBrad has a very special column this month featuring one of his new favorite topics; beading.
(No, dear souls, do no lament that AskSREBrad has left the word of silk ribbon for that oh so glittering world of beads. No, AskSREBrad has simply grown to love those shiny little baubles and is intrigued
with how they can glitz up his silk ribbon embroidery).

With this month's Challenge Series Swap AskSREBrad is introducing to a whole new
world (I can open your eyes, take you wonder by wonder, over, sideways and under,
on a magic carpet ride) and introducing you to some rather innovative artists.

But first, a brief yet inspiring tour of the world of beads. If you want a truly in depth look at the
history and the place that beads hold in this world, AskSREBrad urges you to read
The History of Beads; from 30,000 B.C. to the Present by Lois Sherr Dubin and Togashi.
It is a remarkable and fascinating look at all things bead.

Did you know:

Beads have been been around almost since the dawn of human history.
The word "bead" comes from the Anglo Saxon "biddin" meaning to pray and "bede"
meaning prayer.
Beads were used as currency (and still are) in some parts of the world.
Columbus offered beads to the Native Americans when he landed in America
Glass beads were in circulation in Russia since before the 10th Century
During the 18th Century, Russians used beads extensively for interior decorating
Check out the bugle work room Oranienbaum here.
During the 19th Century, a middle class market for beads developed
About this time (19th C), the making of beads became easier due to mechanization
of the process
Beads were (and still are) tumbled in a large drum to remove the molded seams
(and add other effects)
Swarovski invented a process for cutting large quantities of quality beads in the 1800's
In 19th Century Western Europe it became fashionable to apply beads to clothing,
especially gowns and special occasion wear.
By the end of the 19th Century, the Art Noveau movement introduced a new
breed of bead makers, including the styles of Tiffany.
Handmade Lampwork beads made by winding molten glass on a metal or copper rod.
Millefiori is created by adding layers of glass to create a pattern and then pulled onto
a long thin rod. The glass is then cut into beads to reveal the design within.
One hank of seed beads (size 11) contains approximately 4000 beads and is about 35 grams.

Fascinating is it not? Even more fascinating are the modern day artists who continue
to expand upon time honored traditions in beading and explore new frontiers. AskSREBrad spoke
with six artists whose styles represent a kaleidoscope of beadwork. Just six simple questions shows how much one little bead can inspire a person.

Besides authoring, One Bead at Time, Exploring Creativity with Bead Embroidery and creating a beautiful portfolio of beadwork, Robin Atkins, is also a prolific teacher, criss crossing the country spreading the joy of beads and inspiring her students through her mantra of "to empower
my students to reach into their own huge creative capacity, to let go of fears of failure, and to
produce something that has "heart", and therefore life itself!"
You can see Ms Atkins' work at her website, http://www.interisland.net/robinatkins/robinBeadArtist.htm

ASB: What drew you to beads as a medium?

RA:
I remember loving beads as a youngster. My tubes of "Indian beads" and my little wind-the-warp loom were precious to me. I had six opaque colors of beads (red, two shades of blue, a yellow-green, and white); and the loom instructions came with pages for graphing designs. Intrigued with the winding warp feature of my bead loom, I kept beading my design until I ran out of one of the colors. What began as a bookmark, turned into a 5 foot strip that hung on the door frame to our kitchen for many years.

I flirted with beads on and off for the next three decades, trying macramé, metalsmithing, and weaving. In 1988 I took a class from Carol Berry, a wonderful artist with a unique style combining metalsmithing and beads. She had been collecting unusual beads for several years, and graciously shared them with the class. I went bonkers! I fell head-over-heels in love with her beads! She and I bonded over our mutual delight in tiny glass treasures, and began serious bead shopping. In those days there weren’t many places to buy beads. We took one weekend trip from Seattle, Washington all the way to Blackfoot, Idaho, each spending about $400 on beads!

What drew me to them? Who can explain "love?" At first I suppose it was a fascination with all the beautiful colors and shapes. Then it was amazement at the great variety – all the different materials used to make beads, all the textures, all the sizes – in addition to the colors and shapes. Later, as I learned more about beads, it was the history and ubiquitous nature of beading that further delighted me – knowing that beads as adornment go back to first man, studying ethnic and historical beadwork, collecting old beads. There’s no end to it. As soon as I think I know about beads, someone shows me one I’ve never seen before!

ASB: What is your favorite technique?

RA: For the past ten years, it’s been bead embroidery – sewing beads on cloth! Although a sense of harmony and contentment fills me when doing other types of beadwork or other handwork like thread (or ribbon) embroidery, it is never so pervasive as when I'm beading on cloth. As I stitch bead after bead, I feel that I am ancient, sitting cross-legged under a Cyprus tree--a contemplative, whole, complete, and totally honest.

ASB: Where do you find your inspiration?

RA:
I work improvisationally – that is, without a plan or design. Many times I don’t know what my bead embroidery piece will become until I’ve worked on it for weeks. Yet, it’s not just random. The inspirations come from some intuitive level, maybe a "play instinct," permission to let myself choose fabric and beads and sew them on the cloth without input from my brain. Because I work this way, I don’t generally try to understand or analyze the inspirations behind my pieces.

However, if I must be more specific, I’d say I find inspiration from: the colors and designs of the fabrics I use, animals and plants in nature, symbols, my bead stash, folk art, childhood experiences, people I love and respect, my students and teachers, life issues, and important decisions facing me.

ASB: How do you begin a new piece?

Sometimes I have a theme in the back of my mind. For example, I made a piece for the 9/11 bead quilt (see www.beadquilt.org ). Of course the events of this human tragedy were very prominent in my mind. I went to my fabric stash and selected a piece of cotton that seemed compelling. Then I chose some beads the same way and put them in a project box. As I sewed beads on the square, it became clear that my work was helping to bring my heart into a more hopeful or optimistic place. So basically, I just choose a piece of fabric and beads that are compelling to me, without trying to figure out why. Then I pick up a bead I love and sew it somewhere on the fabric. Bead by bead my work develops and reveals itself to me.

ASB: Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?

RA:
Not really. Every piece of bead embroidery that I do makes me feel stronger as an artist. Every piece is a new challenge; every piece is a new learning experience.

However, when I first began doing bead embroidery and working improvisationally, I felt there was a great turning point in my career as a bead artist. Before then I considered myself to be a good craftsperson. I could string beads and design necklaces, etc. that people would buy. But I didn’t feel like an artist. I think it’s because my work came from my head. When I began doing improvisational bead embroidery, my work started to come from my heart. That, I believe, is the difference between being a craftsperson and becoming an artist.

ASB: Bonus silly question:
If you were a bead, what kind would you be?

RA:
Well, this may be "begging the question," but I’d be a different bead every day… maybe every hour – a magnificent old Chinese glass beads, a tiny size 16 Czech seed bead, a contemporary hand-made lampwork glass bead, a beautifully crafted silver bead from Bali, a carved Carnelian bead from Germany, a large ceramic bead with a Raku glaze, a clear amber bead… Yes, I think I’d need to be a different bead every hour! Even if I were young, one-a-day wouldn’t give me enough time to be all of my favorites.

Thank YOU for the opportunity to share my passion with your readers. My suggestion about incorporating beadwork in SRE is "just do it!" Experiment, play, have fun, try it!

In addition to my book, "One Bead at a Time," there are two new books about bead embroidery soon to hit the market that might help your readers get started. One is by Amy Clarke and me; the other is by Nancy Eha, who is aiming her work toward quilters. I don’t have specific information about Nancy’s, but here is the information about the one by Amy and me:

Title: Beaded Embellishment, Techniques & Designs for Embroidering on Cloth

Authors: Amy C. Clark & Robin Atkins
Book information: 135 pages; hundreds of illustrations and color photos
Chapters include: The History of Beading on Cloth, Getting Started,Techniques, Projects (10), Designing for Beading on Cloth, Gallery of Contemporary Bead Embroidery (work by 33 artists!)
Scheduled release date: October, 2002
Retail price: $21.95
ISBN #: 1931499128
Pre order from Interweave Press: www.interweave.com/books (search under beading category)
Pre-order from Amazon.com: http://www.amazon.com (search for book title or ISBN number)

Beady blessings to you all!

Robin Atkins

Jeannette Cook is one half of Beady Eyed Women, a store, website (http://www.beadyeyedwomen.com/), and producer of fine beading books such as: Beading with Herringbone Stitch, Beading with Peyote Stitch, Beady Eyed Women's Guide to Exquisite Beadwork: the Series (Peyote Stitch Primer, A Netting Primer, A Bead & Weave Primer,
A Fringe & Edge Tassel & Trim Primer, A Sculptural Peyote Projects Primer, and An Off-Loom Bead Weaving Primer).

Ms Cook is currently working on her latest class, "Geo-Magical Frenzy" in which you can
"create a wild frenzy of beaded components using tubular peyote, sculptural tubular peyote, ndebele, right angle weave and netting along with surface embellishment beading techniques to cover wire armature. Connect these components with lamp work beads and you have a fabulous necklace" and experimenting with silk ribbon and wire ribbons.

ASB: What drew you to beads as a medium?

JC: I began beading in the late 60’s when everyone was wearing love beads and dressing in wonderful “costumes” every day. It evolved from love beads and embroidering my jeans, to bead embroidery on vintage clothing and finally bead embroidered leather jewelry and large beaded purse pieces.

ASB: What is your favorite technique?

JC: Freeform Sculptural Peyote Stitch is my very favorite stitch. You can use all different sizes of beads in one piece. The work evolves this way.

ASB: Where do you find your inspiration?

JC: Everywhere, really. I get color inspiration from the beads themselves. Lampwork beads really get me creating! I look outside at my pond and waterfall and get inspired. My flower garden helps, as well as the magazines with amazing wearable art featured in them.

ASB: How do you begin a new piece?

JC: I begin by gathering a color pallette of beads. This can take a long time! Sometimes a couple of hours to gather everything together and get started.
Then I am off and beading.

ASB: Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?

JC: My first Sculptural Peyote piece from a class I took with Joyce Scott about 16 years ago. It was a two day workshop. I learned five basic variations on Peyote Stitch. I just kept inventing new ways to do Sculptural Peyote after that! I never wanted to do bead embroidery again. I wrote a book on it a few years later and have been teaching my variations for 14 years now.
I am now experimenting with silk ribbon and fine French wire ribbon as well as multimedia projects that use sticks, paper, found objects and beads of course.

ASB: Bonus silly question:
If you were a bead, what kind would you be?

JC:
I would definitely be a lampwork bead. The kind with a lot of swirls and dichroic glass encased in a thick clear glass coating!

Jeannette Cook

Ms Cook also shared two of her creations with us
(click on the thumbnail for a larger image)

Nancy Eha is well known in the Crazy Quilting and Embellishing community. Her book,
Off the Beadin' PathI is a wonderful resource for creating your own style with beads.
Her website, http://www.beadcreative.com proclaims, "Bead Creative is dedicated to the joy of creative discovery" . Here you will find where Ms. Eha further delves into the world of beaded embellishment, sharing her quilt and bead creations and listing her extensive teaching schedule.
Ms Eha says, "My earliest Crazy Quilt projects used primarily beads and beading as embellishments.
This time I am adding embroidery, silk ribbon embroidery, painted lace, and silk prints as well"

(click on thumbnail for a larger image)

ASB: What drew you to beads as a medium?

NE: The color and sparkle of beads drew me to beading. The infinite creative possibilities keeps me working with beads. I am endlessly amazed of the beauty that can be created with small pile of beads!

ASB: What is your favorite technique?

NE: I have never met a beading technique I didn't like! I am probably best known for combining numerous beading techniques with other needlework forms ( silk ribbon embroidery, embroidery, etc.) while creating vibrantly colorful, textural, obsessively beaded creations.

ASB: Where do you find your inspiration?

NE: I am a self proclaimed Certified Beadaholic, seeing the world through beady eyes.. I am always wondering what "that object" would look like beaded. So I never run out of inspiration.

ASB: How do you begin a new piece?

NE: I begin with a theme in mind. Then anywhere from 1 month to 2 years I collect imagery (photos, fabric, color chips, etc) which reinforce the theme. As I begin to work, I work in a collage fashion. Bead an area, then decide where and what to bead next and add it to the evolving composition. I create without a ""road map", charts, drawings, etc. Planning, following a plan precisely, and knowing exactly what the outcome will be takes all the fun out of creating for me. Instead I start with a rough idea or theme in my head and then work intuitively. Sometimes I get what I expected when experimenting, some times I have a "learning experience" and get something I did not plan on. But that is ok too. It may still work in the piece, or I have an outcome I can use in a future piece. The more you experiment and take creative risks, the better you know your chosen materials.

ASB: Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?

NE: My turning point was going where no one else had gone with fabric beading techniques and documenting them in my book: Off The Beadin' Path. Prior to publishing my book, the only fabric beading books available were about beading on evening wear, bridal fashions etc. And beads to embellish fabric on quilts and needlework pieces where used only to add mere sparkle, appearing as though they were an after thought.. What I teach/apply are techniques which bring the beading forward as a or the primary design element in a piece..

ASB: Bonus silly question:
If you were a bead, what kind would you be?

NE:
If I was a bead, I would be a large flamboyant bead made entirely out of smaller glass.

Some ideas for combining silk ribbon embroidery and beading,
Beads as SRE flower centers
Couching SRE down on fabric with beads

Nancy Eha

Perhaps the most well known among the silkribbon@yahoogroups subscribers, due to her
popular silk ribbon embroidery books, Ribbon Basics: All the Stitches & Techniques of Silk Ribbon Work & Embroidery, Ribbon Designs to Cherish, Making Decorative Fabric Covered Boxes and, Romantic Silk Ribbon Keepsakes, Mary Jo Hiney has also written a wonderful beading book entitled The Beaded Object. Ms Hiney has combined beadwork and silk ribbon embroidery many times and a "newbie" in silk ribbon embroidery is often introduced to the possibilities of these combinations through
her work.

ASB: What drew you to beads as a medium?

MJH: I guess I was first really exposed to beads, and sequins, etc. when I worked as a wardrobe dresser for live television, in Hollywood, of course. I had the distinct opportunity to see the early work of people like Bob Mackie. I always felt the costumes were too glitzy, but at the same time got an education on the properties of beads. I am much more interested in beads as an embellishment rather than beads for jewelry making.

ASB: What is your favorite technique?

MJH: hmmmm...I don't have a favorite technique. For the past ten years, I have done a ton of design work. Every project has a different need. Being able to do a lot of design work has given me many creative opportunities, so I've explored a lot of them. What I like about beads is the additional texture they add to a project, and I work with larger and smaller beads.

ASB: Where do you find your inspiration?

MJH: Everywhere. Old movies, new movies, magazines, websites, flowers, fabric, color, life, old clothes, antiques, well-told stories, history, architecture, everywhere, everything. But, this said, I work in partnership with the spirit of God. The career I now have is one that God dropped in my lap 10 years ago, and I walk through the doors that He opens for me.

ASB: How do you begin a new piece?

MJH: I usually do some research and then give the piece some direction with buzz words. I contemplate the textures I want to use and then gather those textures and let them hang out together. I also think about the construction of the piece, what problems I will have to solve and how best to do that so my finished piece has professional polish. When it comes to design work, I do not like poor workmanship. I feel refined workmanship is the most important quality a person can give to their work. Nothing looks worse than good design accomplished with poor workmanship. After contemplating how I'm going to construct my piece, I'll do some initial sketching or patternmaking and then get started. Sometimes, I have to make a prototype. Other times, I can just dig in. It depends on what I'm making.

ASB: Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?

MJH: Definitely. My husband and I had a cottage manufacturing business from '83 - '91. During this time, we had a number of employees off and on. Although I learned a ton from this experience, it felt like prison to me. With the recession of '90-'91, our business failed. At that point, I started working in my garage, working alone, making one of a kind pieces for stores, exploring ribbonwork. I and my creativity had been freed. A store in Carmel, CA had a few of my one-of-a-kinds. Jo Packham, owner of Chapelle, ltd. walked in this store and flipped for my stuff, gave me a call and got me started on the first of my 13 publications with Sterling/Chapelle. Cool, huh. See what I mean about my career being dropped in my lap? And that's the truth, Edith Ann.

ASB: Bonus silly question:
If you were a bead, what kind would you be?

MJH:
I would have to be a bead with wings, one that light could shine through.

Mary Jo Hiney

Many of my readers might not be familiar with the art of French Beaded Flowers, but let
AskSREBrad tell you, here is a technique that is ripe with possiblities when it comes to silk ribbon
(and even crazyquilting). Dalene Kelly is the author of French-Beaded Flowers, New Millennium Collection and her website Beaded Flower Patterns.com, showcases just what can be done with this technique. Ms Kelly even gives you free instructions and a pattern :)

ASB: What drew you to beads as a medium?

DK: I love the pure and everlasting quality of working with glass. While other mediums eventually fade or deteriorate, the beads are timeless. For this reason, I usually shy away from most dyed and lined varieties.

ASB: What is your favorite technique?

DK: I am totally addicted to French beaded flowers. I love the 3D quality and versatility of the finished item. I also appreciate the fact that 2 people, following the same pattern, will usually have different looking pieces. There is a lot of room for creativity.

ASB: Where do you find your inspiration?

DK: Since my second love is gardening, the two go together quite nicely. Although winter forces me to design my flowers from photos, summer fills me with inspiration.

ASB: How do you begin a new piece?

DK: I begin by studying a flower from all different angles. Then I begin to bead. When the flower is done to my liking, I commit the pattern to paper.

ASB: Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?

DK: Not really. I have my "favorite" piece, which is a magnolia. My "dream" piece, which is a rock covered with monarch butterflies. And, I have my "atta girl" pattern, which is my bleeding heart. I rejected a lot of petals before I finally made a bleeding heart that looked like the ones in my garden.

ASB: Bonus silly question:
If you were a bead, what kind would you be?

DK:
Fire polished, cut, AB crystal, it most describes my life and personality.

Dalene Kelly

Artist, Teacher, and Studio Owner are just three of the many words that describes NanC Meinhardt. Not only does Ms Meinhardt teach an ongoing series of bead workshops, she also opens the doors of
her studio in the Northern suburbs of Chicago to a steady stream of other artists/teachers who teach and spread the joy of beading. Ms Meinhart herself creates beautiful flowing beadwork in a range of styles
and techniques as she has "claimed a more personal vision for (her) future rather than a path well worn and already known...." Her website, www.NanCMeinhardt.com is a constant changing reflection of today's modern beadwork.

ASB: What drew you to beads as a medium?

NCM: I have always been drawn to color suspended in light. I did a lot of photography and spent a lot of time in the darkroom making inter-negatives and inter-positives which caused even black and white to be suspended in light or space. When I painted, I created my own glazes mixing enamel paint with polyurethane and built up many layers.........sometimes the paint was mixed into clear colorful glazes and sometimes the paint would create wonderful suspended patterns on the surface. Beads seemed to fall rather naturally into the same theme.

ASB: What is your favorite technique?

NCM: Without a doubt..................free form right angle weave!!!!!!!!!!!!!!!!!!!!!!!!! It is both strong and supple. I can use it to express the slightest nuances of shape and form as well as creating lush surfaces in a single layer of beadwork. I have thought up my own ways to increase and decrease using filler beads and something I call a "filler bead inside increase" to achieve the effects I desire. It is just one of those "perfect fits".

ASB: Where do you find your inspiration?

NCM: From traveling the internal universe. My work is psychological in nature: I love to follow a thought, idea, color, feeling or whatever and see where it leads. I meet my work along the way.

ASB: How do you begin a new piece?

NCM: I know my answer isn't very helpful, but I ........just start. I spend a great deal of time beading so it is really difficult for me to pinpoint where in that process of working with beads that a particular piece begins. I think pieces are always beginning and continuing and ending and beginning again. Sorry, I told you my answer to this question wouldn't make a lot of sense.

ASB: Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?

NCM: Well....perhaps the "Let Me In, Let Me Out" mask series. If not a turning point exactly then I would define it as a signature piece. A true turning point piece would be the first piece in which I used beads (a book that I embellished with beads until it was so encrusted that I never included the photographs I which I had intended for the inside of the book) and was so seduced by the medium that I left the world of photography behind.

ASB: Bonus silly question:
If you were a bead, what kind would you be?

NCM:
That's easy............F648!! I call it the bead that makes you weep and it seems to have that sort of effect on others too: definitely a magical draw. It is one of the very few beads that I know by number.
Well, you asked!!

NanC Meinhardt

AskSREBrad wants to thank all of the artists who answered his questions. AskSREBrad
knows that he is inspired by the work they share! AskSREBrad hopes that you too,
gentle readers are not only inspired, but will come to look at what you do in a different light on your path to discovering your own art in silk ribbon embroidery.

A few links for you journey:

http://beadwork.about.com/index.htm?rnk=c1&terms=beading
http://www.beadandbutton.com/
http://www.suzannecooper.com/classroom/flat/flat_class.html
http://www.dragonwings.net/Hairsticks.html
http://www.jewelrycrafts.com/beadproj5.html
http://www.beadwrangler.com/insidethreads.htm#Chart
http://www.bead-patterns.com/
http://search.bellaonline.com/home_and_garden/hobbies_and_crafts/beadwork/
http://shalas_beads.tripod.com/Index.htm
http://www.manfredinidesign.com/home1.html
http://www.easystreet.com/~sequoia/beads.html
http://home.flash.net/~mjtafoya/patterns/abcshal1.htm
http://store.yahoo.com/beadranch/index.html
http://members.tripod.com/~beadingheart/wedding1.html
http://www.ravensdesigns.com/
http://www.beadjapan.net/DaisyNepal_inst.html
http://www.beadjapan.net/hollybrace_inst.html
http://www.annbenson.com
http://www.geocities.com/Vienna/Strasse/5640/
http://www.beadbooks.com/catalog/books/bk-1313.htm
http://kimberlychapman.com/
http://www.beadtown.com/instruction/fringe.htm
http://www.beadworkbycaren.com/
http://www.guidetobeadwork.com/
http://www.cynthiarutledge.net/
http://hometown.aol.com/jcandyl/TUTORIALS.html
http://www.easystreet.com/~sequoia/beads.html
http://www.manfredinidesign.com/home1.html
http://shalas_beads.tripod.com/Index.htm
http://www.angelfire.com/co2/beltana/peyote.html
http://www.rings-things.com/Projects/68002-21.htm
http://beadedflowers.tripod.com/international/patterns/tazetta.htm
http://www.coysdelight.com/
http://www.rbrown.co.nz/bead.cfm

Thus spoke SRE Brad.
Tune in next time for more wisdom.

ASB:	What drew you to beads as a medium?
RA:	I remember loving beads as a youngster. My tubes of "Indian beads" and my little wind-the-warp loom were precious to me. I had six opaque colors of beads (red, two shades of blue, a yellow-green, and white); and the loom instructions came with pages for graphing designs. Intrigued with the winding warp feature of my bead loom, I kept beading my design until I ran out of one of the colors. What began as a bookmark, turned into a 5 foot strip that hung on the door frame to our kitchen for many years. I flirted with beads on and off for the next three decades, trying macramé, metalsmithing, and weaving. In 1988 I took a class from Carol Berry, a wonderful artist with a unique style combining metalsmithing and beads. She had been collecting unusual beads for several years, and graciously shared them with the class. I went bonkers! I fell head-over-heels in love with her beads! She and I bonded over our mutual delight in tiny glass treasures, and began serious bead shopping. In those days there weren’t many places to buy beads. We took one weekend trip from Seattle, Washington all the way to Blackfoot, Idaho, each spending about $400 on beads! What drew me to them? Who can explain "love?" At first I suppose it was a fascination with all the beautiful colors and shapes. Then it was amazement at the great variety – all the different materials used to make beads, all the textures, all the sizes – in addition to the colors and shapes. Later, as I learned more about beads, it was the history and ubiquitous nature of beading that further delighted me – knowing that beads as adornment go back to first man, studying ethnic and historical beadwork, collecting old beads. There’s no end to it. As soon as I think I know about beads, someone shows me one I’ve never seen before!
ASB:	What is your favorite technique?
RA:	For the past ten years, it’s been bead embroidery – sewing beads on cloth! Although a sense of harmony and contentment fills me when doing other types of beadwork or other handwork like thread (or ribbon) embroidery, it is never so pervasive as when I'm beading on cloth. As I stitch bead after bead, I feel that I am ancient, sitting cross-legged under a Cyprus tree--a contemplative, whole, complete, and totally honest.
ASB:	Where do you find your inspiration?
RA:	I work improvisationally – that is, without a plan or design. Many times I don’t know what my bead embroidery piece will become until I’ve worked on it for weeks. Yet, it’s not just random. The inspirations come from some intuitive level, maybe a "play instinct," permission to let myself choose fabric and beads and sew them on the cloth without input from my brain. Because I work this way, I don’t generally try to understand or analyze the inspirations behind my pieces. However, if I must be more specific, I’d say I find inspiration from: the colors and designs of the fabrics I use, animals and plants in nature, symbols, my bead stash, folk art, childhood experiences, people I love and respect, my students and teachers, life issues, and important decisions facing me.
ASB:	How do you begin a new piece?
	Sometimes I have a theme in the back of my mind. For example, I made a piece for the 9/11 bead quilt (see www.beadquilt.org ). Of course the events of this human tragedy were very prominent in my mind. I went to my fabric stash and selected a piece of cotton that seemed compelling. Then I chose some beads the same way and put them in a project box. As I sewed beads on the square, it became clear that my work was helping to bring my heart into a more hopeful or optimistic place. So basically, I just choose a piece of fabric and beads that are compelling to me, without trying to figure out why. Then I pick up a bead I love and sew it somewhere on the fabric. Bead by bead my work develops and reveals itself to me.
ASB:	Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
RA:	Not really. Every piece of bead embroidery that I do makes me feel stronger as an artist. Every piece is a new challenge; every piece is a new learning experience. However, when I first began doing bead embroidery and working improvisationally, I felt there was a great turning point in my career as a bead artist. Before then I considered myself to be a good craftsperson. I could string beads and design necklaces, etc. that people would buy. But I didn’t feel like an artist. I think it’s because my work came from my head. When I began doing improvisational bead embroidery, my work started to come from my heart. That, I believe, is the difference between being a craftsperson and becoming an artist.
ASB:	Bonus silly question: If you were a bead, what kind would you be?
RA:	Well, this may be "begging the question," but I’d be a different bead every day… maybe every hour – a magnificent old Chinese glass beads, a tiny size 16 Czech seed bead, a contemporary hand-made lampwork glass bead, a beautifully crafted silver bead from Bali, a carved Carnelian bead from Germany, a large ceramic bead with a Raku glaze, a clear amber bead… Yes, I think I’d need to be a different bead every hour! Even if I were young, one-a-day wouldn’t give me enough time to be all of my favorites. Thank YOU for the opportunity to share my passion with your readers. My suggestion about incorporating beadwork in SRE is "just do it!" Experiment, play, have fun, try it! In addition to my book, "One Bead at a Time," there are two new books about bead embroidery soon to hit the market that might help your readers get started. One is by Amy Clarke and me; the other is by Nancy Eha, who is aiming her work toward quilters. I don’t have specific information about Nancy’s, but here is the information about the one by Amy and me: Title: Beaded Embellishment, Techniques & Designs for Embroidering on Cloth Authors: Amy C. Clark & Robin Atkins Book information: 135 pages; hundreds of illustrations and color photos Chapters include: The History of Beading on Cloth, Getting Started,Techniques, Projects (10), Designing for Beading on Cloth, Gallery of Contemporary Bead Embroidery (work by 33 artists!) Scheduled release date: October, 2002 Retail price: $21.95 ISBN #: 1931499128 Pre order from Interweave Press: www.interweave.com/books (search under beading category) Pre-order from Amazon.com: http://www.amazon.com (search for book title or ISBN number) Beady blessings to you all! Robin Atkins

ASB:	What drew you to beads as a medium?
JC:	I began beading in the late 60’s when everyone was wearing love beads and dressing in wonderful “costumes” every day. It evolved from love beads and embroidering my jeans, to bead embroidery on vintage clothing and finally bead embroidered leather jewelry and large beaded purse pieces.
ASB:	What is your favorite technique?
JC:	Freeform Sculptural Peyote Stitch is my very favorite stitch. You can use all different sizes of beads in one piece. The work evolves this way.
ASB:	Where do you find your inspiration?
JC:	Everywhere, really. I get color inspiration from the beads themselves. Lampwork beads really get me creating! I look outside at my pond and waterfall and get inspired. My flower garden helps, as well as the magazines with amazing wearable art featured in them.
ASB:	How do you begin a new piece?
JC:	I begin by gathering a color pallette of beads. This can take a long time! Sometimes a couple of hours to gather everything together and get started. Then I am off and beading.
ASB:	Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
JC:	My first Sculptural Peyote piece from a class I took with Joyce Scott about 16 years ago. It was a two day workshop. I learned five basic variations on Peyote Stitch. I just kept inventing new ways to do Sculptural Peyote after that! I never wanted to do bead embroidery again. I wrote a book on it a few years later and have been teaching my variations for 14 years now. I am now experimenting with silk ribbon and fine French wire ribbon as well as multimedia projects that use sticks, paper, found objects and beads of course.
ASB:	Bonus silly question: If you were a bead, what kind would you be?
JC:	I would definitely be a lampwork bead. The kind with a lot of swirls and dichroic glass encased in a thick clear glass coating! Jeannette Cook Ms Cook also shared two of her creations with us (click on the thumbnail for a larger image)

ASB:	What drew you to beads as a medium?
NE:	The color and sparkle of beads drew me to beading. The infinite creative possibilities keeps me working with beads. I am endlessly amazed of the beauty that can be created with small pile of beads!
ASB:	What is your favorite technique?
NE:	I have never met a beading technique I didn't like! I am probably best known for combining numerous beading techniques with other needlework forms ( silk ribbon embroidery, embroidery, etc.) while creating vibrantly colorful, textural, obsessively beaded creations.
ASB:	Where do you find your inspiration?
NE:	I am a self proclaimed Certified Beadaholic, seeing the world through beady eyes.. I am always wondering what "that object" would look like beaded. So I never run out of inspiration.
ASB:	How do you begin a new piece?
NE:	I begin with a theme in mind. Then anywhere from 1 month to 2 years I collect imagery (photos, fabric, color chips, etc) which reinforce the theme. As I begin to work, I work in a collage fashion. Bead an area, then decide where and what to bead next and add it to the evolving composition. I create without a ""road map", charts, drawings, etc. Planning, following a plan precisely, and knowing exactly what the outcome will be takes all the fun out of creating for me. Instead I start with a rough idea or theme in my head and then work intuitively. Sometimes I get what I expected when experimenting, some times I have a "learning experience" and get something I did not plan on. But that is ok too. It may still work in the piece, or I have an outcome I can use in a future piece. The more you experiment and take creative risks, the better you know your chosen materials.
ASB:	Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
NE:	My turning point was going where no one else had gone with fabric beading techniques and documenting them in my book: Off The Beadin' Path. Prior to publishing my book, the only fabric beading books available were about beading on evening wear, bridal fashions etc. And beads to embellish fabric on quilts and needlework pieces where used only to add mere sparkle, appearing as though they were an after thought.. What I teach/apply are techniques which bring the beading forward as a or the primary design element in a piece..
ASB:	Bonus silly question: If you were a bead, what kind would you be?
NE:	If I was a bead, I would be a large flamboyant bead made entirely out of smaller glass. Some ideas for combining silk ribbon embroidery and beading, Beads as SRE flower centers Couching SRE down on fabric with beads Nancy Eha

ASB:	What drew you to beads as a medium?
MJH:	I guess I was first really exposed to beads, and sequins, etc. when I worked as a wardrobe dresser for live television, in Hollywood, of course. I had the distinct opportunity to see the early work of people like Bob Mackie. I always felt the costumes were too glitzy, but at the same time got an education on the properties of beads. I am much more interested in beads as an embellishment rather than beads for jewelry making.
ASB:	What is your favorite technique?
MJH:	hmmmm...I don't have a favorite technique. For the past ten years, I have done a ton of design work. Every project has a different need. Being able to do a lot of design work has given me many creative opportunities, so I've explored a lot of them. What I like about beads is the additional texture they add to a project, and I work with larger and smaller beads.
ASB:	Where do you find your inspiration?
MJH:	Everywhere. Old movies, new movies, magazines, websites, flowers, fabric, color, life, old clothes, antiques, well-told stories, history, architecture, everywhere, everything. But, this said, I work in partnership with the spirit of God. The career I now have is one that God dropped in my lap 10 years ago, and I walk through the doors that He opens for me.
ASB:	How do you begin a new piece?
MJH:	I usually do some research and then give the piece some direction with buzz words. I contemplate the textures I want to use and then gather those textures and let them hang out together. I also think about the construction of the piece, what problems I will have to solve and how best to do that so my finished piece has professional polish. When it comes to design work, I do not like poor workmanship. I feel refined workmanship is the most important quality a person can give to their work. Nothing looks worse than good design accomplished with poor workmanship. After contemplating how I'm going to construct my piece, I'll do some initial sketching or patternmaking and then get started. Sometimes, I have to make a prototype. Other times, I can just dig in. It depends on what I'm making.
ASB:	Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
MJH:	Definitely. My husband and I had a cottage manufacturing business from '83 - '91. During this time, we had a number of employees off and on. Although I learned a ton from this experience, it felt like prison to me. With the recession of '90-'91, our business failed. At that point, I started working in my garage, working alone, making one of a kind pieces for stores, exploring ribbonwork. I and my creativity had been freed. A store in Carmel, CA had a few of my one-of-a-kinds. Jo Packham, owner of Chapelle, ltd. walked in this store and flipped for my stuff, gave me a call and got me started on the first of my 13 publications with Sterling/Chapelle. Cool, huh. See what I mean about my career being dropped in my lap? And that's the truth, Edith Ann.
ASB:	Bonus silly question: If you were a bead, what kind would you be?
MJH:	I would have to be a bead with wings, one that light could shine through. Mary Jo Hiney

ASB:	What drew you to beads as a medium?
DK:	I love the pure and everlasting quality of working with glass. While other mediums eventually fade or deteriorate, the beads are timeless. For this reason, I usually shy away from most dyed and lined varieties.
ASB:	What is your favorite technique?
DK:	I am totally addicted to French beaded flowers. I love the 3D quality and versatility of the finished item. I also appreciate the fact that 2 people, following the same pattern, will usually have different looking pieces. There is a lot of room for creativity.
ASB:	Where do you find your inspiration?
DK:	Since my second love is gardening, the two go together quite nicely. Although winter forces me to design my flowers from photos, summer fills me with inspiration.
ASB:	How do you begin a new piece?
DK:	I begin by studying a flower from all different angles. Then I begin to bead. When the flower is done to my liking, I commit the pattern to paper.
ASB:	Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
DK:	Not really. I have my "favorite" piece, which is a magnolia. My "dream" piece, which is a rock covered with monarch butterflies. And, I have my "atta girl" pattern, which is my bleeding heart. I rejected a lot of petals before I finally made a bleeding heart that looked like the ones in my garden.
ASB:	Bonus silly question: If you were a bead, what kind would you be?
DK:	Fire polished, cut, AB crystal, it most describes my life and personality. Dalene Kelly

ASB:	What drew you to beads as a medium?
NCM:	I have always been drawn to color suspended in light. I did a lot of photography and spent a lot of time in the darkroom making inter-negatives and inter-positives which caused even black and white to be suspended in light or space. When I painted, I created my own glazes mixing enamel paint with polyurethane and built up many layers.........sometimes the paint was mixed into clear colorful glazes and sometimes the paint would create wonderful suspended patterns on the surface. Beads seemed to fall rather naturally into the same theme.
ASB:	What is your favorite technique?
NCM:	Without a doubt..................free form right angle weave!!!!!!!!!!!!!!!!!!!!!!!!! It is both strong and supple. I can use it to express the slightest nuances of shape and form as well as creating lush surfaces in a single layer of beadwork. I have thought up my own ways to increase and decrease using filler beads and something I call a "filler bead inside increase" to achieve the effects I desire. It is just one of those "perfect fits".
ASB:	Where do you find your inspiration?
NCM:	From traveling the internal universe. My work is psychological in nature: I love to follow a thought, idea, color, feeling or whatever and see where it leads. I meet my work along the way.
ASB:	How do you begin a new piece?
NCM:	I know my answer isn't very helpful, but I ........just start. I spend a great deal of time beading so it is really difficult for me to pinpoint where in that process of working with beads that a particular piece begins. I think pieces are always beginning and continuing and ending and beginning again. Sorry, I told you my answer to this question wouldn't make a lot of sense.
ASB:	Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
NCM:	Well....perhaps the "Let Me In, Let Me Out" mask series. If not a turning point exactly then I would define it as a signature piece. A true turning point piece would be the first piece in which I used beads (a book that I embellished with beads until it was so encrusted that I never included the photographs I which I had intended for the inside of the book) and was so seduced by the medium that I left the world of photography behind.
ASB:	Bonus silly question: If you were a bead, what kind would you be?
NCM:	That's easy............F648!! I call it the bead that makes you weep and it seems to have that sort of effect on others too: definitely a magical draw. It is one of the very few beads that I know by number. Well, you asked!! NanC Meinhardt