ATTENTION to Tension

Recently I followed a pattern to make an item that other people had also made. When I had finished making my piece, I noticed how my item looked in comparison to the ones made by others.

What were the differences in mine to the others?  Tension, tension, tension

How do you get good tension?

It is all in the way you hold your thread when beading. I notice with beginners they have a tendency to sit the work on their bead mat, place the bead on their needle with their left hand and then pull the thread through the beads. There is absolutely no tension kept on the work at all.

I immediately tell them to pick it up and I show them how to hold the work, hold the tension and  pick up beads with the needle.

I hold the needle in my right hand and the work between my thumb and index finger in my left hand with the thread placed over the index finger. The image shows how the thread is draped over my index finger and the middle finger is holding that in place and keeping the thread firm.

As I place new beads and pull the thread through the work my middle finger lifts up then comes back down to my index finger to hold the tension in the thread. Not keeping that tension makes your work loose.

Sometimes I want a very firm tension so I give the thread a good tug and the middle finger lifts and drops into play to hold that tension in place. It becomes all automatic like machine parts doing their job.

Drawbacks in too tight a tension

There are beaders who are unbelievably tight in their tension, how they do that is beyond me. I often wonder if the thread is hurting their hands. The difficulty with super-tight tension is

* you have problems getting the needle through the beads as there is no room for movement

* your work can end up looking stiff and not move nor curve how you want.

* too stiff causes threads, or beads, to break and the work may come undone.

Personally, I achieve good tension by sewing my work twice. It is just what I do. I found early in bead-weaving that with sewing twice:

* beads sit better

* you can see the bead pattern

* the work feels better

* less chance my work gets pulled out of shape if I snag my thread

* added strength to my creations, they won’t fall apart

* an overall better look and presentation of the finished product.

To the right is an image of two right angle weaves. One has been sewn once each step and one has been sewn twice each step.  Both are an  8 rows wide x 4 rows high RAW.

Just by looking at the samples it is clear which sample has been sewn twice. You can see the lay of the beads very ordered and firmly in place. If you were embellishing the twice sewn sample you would know exactly which beads to embellish into as the pattern is obvious. Less risk of your work going out-of-shape because everything is firmly in place and has two threads keeping it that way.

But it goes further than that, picking these samples up and comparing the feel you notice the twice sewn sample is more substantial and how the once sewn sample is floppy/flimsy. If you were a customer buying, I am sure you would take the one that felt stronger and the most substantial.

Exceptions to the to rule
If I am making a spiral rope, a peyote band, netting etc  I don't sew these twice so there are exceptions.

Recently Mikki Ferrugiaro posted her video on her rolled peyote edges bangle. In this video Mikki shows how soft tension is necessary when doing her pattern for her bangles. Click on the link to see her sew with a loose tension and get the idea. Also take note on how Mikki holds her work and thread.

http://www.youtube.com/watch?v=dzRugKDRahk

Another time you need soft tension is with fringing. Fringing needs to swing and sway in the jewellery design so a soft tension is required. I have found FireLine too hard for a soft fringe and I recommend Nymo for fringing as it is much softer. I am sure there are other products but not being much of a fringing person I have not tried them.

I do not wish to give the idea that tight/firm tension is the 'rule' for beading but rather a 'guide'. Learning how to do all types of tensions and knowing when to use them is important. Often the tension relates to the design. For instance when sculpting with beads multiple sewings and tight tension is definitely required.

I urge you to experiment with tensions to discover what works for you, along with seeing how your finished items appear with a firm tension. If your fingers have difficulty holding the thread firmly then get into the habit of sewing twice. Also, I urge you to know when to use the varying tension types to achieve the look you desire in your work. When you have these skills and know what works for you, then be surprised at how much better your work looks and feels.  The difference in your finished creations will also be noticed by others. 

Happy Beading.

Guest post- Ralonda G. Patterson

Wild and whacky sporting red pigtails and a chicken shirt is the picture that comes to mind of today's guest blogger, such a fun personality that also shows in her work. From her adorable fishies to her amazing dolls it's all about personality and story. I am thrilled that she accepted my invite to guest blog so you can all meet her and her characters and also know about the amazing opportunity to create your own with her at next year's Bead Fest Texas. So here is 

Ralonda G. Patterson

"Hook, Line, and Sinker"

Click on the name to buy a kit or tutorial for the fishies

How it all began:

The love of beads began for me many years ago when I discovered that a doll could be covered with beads. Because my beading journey began with dolls and not jewelry, there was always a question in my mind if they were enough, if they were qualified or were as good as all the intrinsic beaded jewelry that I saw around me. All of those beautiful pieces had a definite purpose as wearable art. Seeing pages of jewelry in magazines made me really wonder if my dolls had a place in the beading community. Intimidation did not get the better of me.

Purpose:

I later learned that each doll had a purpose too and it was different for each artist and sometimes even different for each doll. Some of the dolls are beaded to express a love of someone who has passed on, or to tell the stories of our deepest or most sacred beliefs or visions. Because the function of each doll is so different, the boundaries of function are blown off the roof. They do not have to be practical, pretty, functional, or balanced. To me, dolls are story tellers and a beaded doll shares his/her story with the added dimension of beads. The beads lend more detail when they are beaded as thoughtfully as a good book is written.

Freedom of Expression:

Starting to bead on a project that has few boundaries really allows you to gain skill and confidence in bead artistry, and come to know it as an art. Problem solving and creative solutions become a new skill set that aids in creation and design. Because each solution comes from a unique you, the story becomes entirely your own. There is no wrong way to bead a doll. You can take whatever beading or sewing skills you have and express your very own story with your own voice.

“Willow” Bead Dreams Finalist 2010

Published in the Gallery of “The Spirit of Bead Embroidery” by Heidi Kummli

Other Beadwork:

While creating dolls, my knowledge of many stitches grew and new designs with challenging structures began to emerge. The dolls always posed structural challenges, but beading without a form was another challenge that was quickly explored. Many of my most recent designs have nothing to do with dolls, but the structure of each piece is what led me to think of myself as a creative engineer. Pieces that have self supporting structure and movement make me giddy. It is most often these classes that are chosen by different venues, so teaching a doll class is still a great treat.

"Dreidel"
Classes are still being scheduled!

Getting Started:

Choosing or creating a doll form may be the most logical place to start but I begin even earlier in my process. In order to stick to beading the entire doll without losing focus. I suggest beginning with an intention or vision of what you hope your doll will become. The form will grow from this direction. For example, if you intend to create a doll to heal the wound of a beloved fur-baby’s passing, then you would search out a form in his or her shape, i.e. a cat or dog. Forms should be made of a stitch-able fabric and should be very firm. If you find a form you love but is not ideal you can make alterations to it. If it is too soft, you can stuff it more firmly; Or, if the form has long “fur”, you could trim it. Pre-made forms by toy companies are acceptable but lack the finer qualities of a good handmade form.

Human doll form

Inanimate object form

Lady Bird, Pearl, SteamSqueak, and Effy
Each doll represents a time and story from my life and they all
represent more than one now that time has passed since their birth.

Work with me:

Ever since creating my first doll “Nite” for the Land of Odds  All Dolled Up Beaded Art Doll Competition in 2004, I have been creating doll forms and beading art dolls. Learning how to combine contemporary beading stitches with the age old art of doll making has become the foundation of a class that includes artistic expression. Now, all my knowledge had been combined and organized into a two day workshop to give beaders the opportunity to really dig deep with me. Having taught shorter Beaded Art Doll classes, I am looking forward to having more time to encourage students to express their artistic visions through the magical story telling dolls possess at Bead Fest Texas 2014. A work of art will be born. Won’t you join me?