You are currently browsing the category archive for the ‘Bead Weaving’ category.

I’m working on my 5th book and I want you to be my co-author, so that The Beader’s Guide to Jewelry Design gives you exactly what you want and need.

The Plan
From now through June 2012 I’ll be asking you questions, seeking your advice and feedback, and requesting examples from you. I’ll be chronicling our progress. If you respond, you, your words, or your jewelry may be in the pages of the book (with your permission). You will be acknowledged for your contribution.

I’ll do this through this my Facebook Artist Page:

If you want to be a part of this adventure, please subscribe so you won’t miss any of my requests.

About The Book
The Beader’s Guide to Jewelry Design is not a technique, construction, or project book. Rather, it will teach both seasoned professionals and beginners how to design, or improve their design. It will demonstrate design concepts and principles and show you how to apply them. It will explain the aesthetics of function, form, and wearability. Ultimately, it will inspire you to create, grow, and creatively express more of yourself.

OK, Here’s Where You Come In
The First Question: What problems do you face when designing jewelry?
To get your mind working, here are more leading questions:
Are you challenged by shape or composition?
Does color baffle you?
Is making focal points within a piece difficult?
Do you know how to lead the viewer’s eyes around and within a piece?
Do you have trouble making a piece look unified?
Do you have problems with your work looking boring or lifeless?
Not sure where to begin when trying to design?
Stumped as to how to take your design skills from solid to spectacular?

Please keep your answers brief. You can respond at, or Email your answers to:

Thank you! I’m so excited about our journey together!

Excerpt from The Beader’s Guide to Color

Something happens when you pair the enchantment of adjacent colors with the gusto of complements… something rousing and vigorous, coursing with life. This “something” is technically called the analogous complementary scheme. But what really happens is magic.

"Waning Crescent” by Margie Deeb exemplifies the analogous complementary scheme. Tranquil blues play the dominant role, emphasizing the meditative reverie of the night drenched dreamer. One complementary accent–moonlight yellow–commands our attention. Tapestry created by Frieda Bates in peyote stitch.

Analogous complementary scheme on the wheel

Analogous-complementary scheme of "Waning Crescent"

Begin this magic by choosing an analogous group of two or three colors adjacent to each other on the wheel—okay, four if you must! This group becomes the dominant color force.

For the complementary part of this alchemy, select the color directly across from the middle of the analogous group. This direct complement becomes the accent color. Or, choose a near-complement (one on either side of the direct complement).

You have now created a dominant color grouping of three similar colors accented with the direct complement (or the near-complement) of one of them. See the color wheel for “Waning Crescent.”

A show-stopping combination of brilliant, irresistible colors comprise this startling analogous complementary scheme. Necklace by Margie Deeb based on a technique by Diane Fitzgerald.

Analogous-complementary scheme for the blue and orange dichroic necklace in photo

Got it? Good! That was “Analogous Complementary Magic 101.”

To graduate to “202,” switch the dominant color to feature its complement rather than one of the analogous members. Mingle accents of the analogous colors into the dominant background made of the complementary color.

In the necklace and accompanying color wheel for the blue/orange necklace, the blue sits directly across the wheel from the orange of the yellow-orange analogous group. It could have been used as an accent color, with startling results. But instead, blue was used as the main color. The results are equally stunning.

To practice “Analogous Complementary Magic 303,” extend the palette. Rather than using just one complementary color, put two or three to work. See “Chanin Study” (below).

An extended, complex interpretation of the analogous complementary scheme. “Chanin Study” by Margie Deeb (created by Frieda Bates) was inspired by the abstract Art Deco ornamentation on the Chanin Building in New York.

Analogous-complementary scheme for "Chanin Study"

Avoid a random mish-mash of colors, logical relationships have been established. The analogous members are grouped together: violet, purple and red serve as a background, greens and yellows swirl and flow in front.

An extended analogous complementary scheme is as complex to work with as it is to say aloud. Juggling these many colors, especially complements, requires planning.

But it is worth every effort. What happens when you harmonize and balance this lively array of color? Pure magic!

Download and read the full article in PDF format at my website:

I had so much fun giving patterns to the winners of the “Answer & Win” contest in May that I’ve decided to give away my beautiful seed bead weaving patterns for FREE and will continue, 2 by 2 a month, until they are all free!

This includes peyote, brick stitch, square stitch, and looming versions.

June features are “Celebration” (one of my most popular) and “Lotus Blossom.”

Tell all bead weaving maniacs to come and get ’em! (PDF downloads only, not the hard copies.)

Click the link, then scroll down to find the free patterns.

Margie’s PDF patterns