Red Spice Deco - Toronto Bead Society 2026 Summer Challenge

This Summer’s Toronto Bead Society (TBS) Challenge “SpiceGirls" palette felt like it suited Autumn more than Summer!

Travelling back to Toronto, we bailed off the 401 Highway in Cambridge, ON. With the Summer Bead Challenge on my mind, I remembered there was Iguana Beads located on King Street in the heart of Cambridge. By the time I arrived to shop at the bead store, Iguana Beads was squished into one section of Mint Vintage shop at the same address. Plus everything in the Iguana Beads section was now 50%.

I started by finding a large lampwork bead that embodied the spice theme. It was one of a kind Art Deco-ish design with interesting colours inside gold rings. I really liked “Red Spice” and decided this would be my focal pendant. Next, I starting looking through jars for interesting beads for creating a spiral rope. Because the focal was large I could go for chunkier beads.

I was drawn to strings of 25 table-cut Topaz-Picasso coated beads with three cuts revealing the topaz core. I bought all 11 strings and ended using nine of them. There was one Topaz-Picasso window bead which I thought would be perfect for the fringe under the Red Deco lampwork pendant.

Then, I added two packs of 6/o transparent red pony beads. I figured a small tube of a Iris AB-coated black-lined transparent red 8/o seed bead would be perfect for the core of a spiral bead rope. All these goodies were purchased at 50% retail. The black-lined light topaz triangle beads and matte red 6/o will have to wait for another project.

AUDITIONING BEADS & TESTING THE SPIRAL LOOPS 

I love playing with texture by graduating shapes and colours of beads. To frame the thick cut Topaz-Picasso beads, I had a big bag of bronze-metallic coated ‘O’ beads.

They are thin slivers which in my mind mimicked the gold rings around the dots of color on the Red Deco focal bead. Next I strung 6/o transparent red pony beads, followed by opaque bright red 8/o seed beads from my stash. I thought a spot of green would tie in with the bottom of the Red Deco focal bead, but it was way too much in an ugly way. 

To start making the spiral rope, I tied on a stopper bead and went up the focal bead. Then I strung the full tube of Iris AB black-lined transparent red 8/o seed bead. I finished by going down through the focal and tied on another stopper bead.

Next I secured a new long thread and started testing the loops: How many beads per loop? How many core beads long? How many core beads apart?

The ideal loop graduated from the cut Topaz-Picasso down to the 8/o red seed on both  sides. GO UP 7 BEADS OF THE CORE. Sting an 8/o op. red, 6/o transparent red, bronze ‘O’, cut Topaz-Picasso, bronze ‘O’, 6/o transparent red, 8/o op. red. GO DOWN TOWARDS THE FOCAL. GO UP 9 core beads (7 for loop + 2 for distance).

Emerge. String next loop. Go downward outside and UP inside 9 core beads. Emerge. Keep repeating by placing the loops to the side so they are spiraling upwards.

SPIRALING ROPE 

Because all the beads are Czech glass, they are heavy. I found that by wearing the necklace, I was able to create looped sections because the weight was distributed. I used gravity to my advantage! I would just have to turn the completed sections out of the way and continue stacking the loops.

I was able to successfully layer the loops by consistently going up through the core 9 beads at a time. It was the perfect solution for this near-sighted beader!

This is a great photo showing the core versus the twisted rope. It’s amazing how many loops are needed to cover the 8/o core! The were 230 loops framed by 460 ‘O’s and 6/o  and 8/o seed beads. I know because I used 9.20 strings of 25 cut Topaz-Picasso beads.

Once I completed the last spiral rope loop, I went down through the focal bead, added a 8/o seed bead and tied around it to create a plug. All the loose thread tails were woven into the spiral rope for a clean finish.

Lastly, I created fringe by stringing 15 - 8/o red seed beads, 1-bronze ‘O’, 1-topaz lozenge and a red seed bead turn-around plug. I anchored the fringe up through the spiral loop and came down the focal to create a few more fringes.

I’m happy with my Red Spice Deco Spiral Rope. Since the weight is distributed it should be fun to wear without falling. It will be a fave going forward! 

Summer challenges are fun once you have an idea and a deadline. This is one way to do something out of the ordinary and enjoy wearing something new and original! Check out the Gallery to see what my fellow beaders created for the Spice Girls Summer Challenge.

Honeycomb - Toronto Bead Society 2025 Bag of Beads Challenge

This year’s Bag of Beads looked beautiful in the bag — warm honey with a touch of turquoise blue. It even came with real amber chips! And some sort of button earring stumpers with smashed down posts, clips, and a load of tiny headpins.

Contents of the Bag of Beads

The Toronto Bead Society (TBS) Bag of Beads challenge is to use at least one from each of the bags in the kit we were given. We could add any other needed supplies from our own stash.

What to do?? No muses for the longest time. The recurring theme that kept coming was “honeycomb”.

Inspiration

The next challenge was how do I create a honeycomb that would hold its hexagonal cell? The logical answer was bead embroidery. But the next decision was, “Will it be another work of art in a shadow box like the last three challenges (Nautilus, Mid-Century Modern Living, Secret Garden)?”, OR “Can I make this challenge be wearable?

 “JUST DO IT!” 

I cut a piece of blue Stiff Felt left over from a previous challenge. Then I tried a few different ways to stitch a honeycomb cell. The most effective way was to draw a 1cm. cell with a pencil, then stitch a light-coloured rough-cut satin beads individually, but then add another on each line. By stitching a metallic gold 13/o seed bead in the corner, a cell shape was created. 

Since I was creating on the fly, I kept drawing a few more hexagonal cells on the blue foundation, then stitching down satin beads with seed beads defining the corners. With time, five rows of cells felt right for the height of a medallion and five and a half cells were best for the width.

Next, the cells needed to be filled in with honey. I tried stitching down the opaque and metallic sienna seed beads in a cell, but it was very sad. Then I strung segments of 1 op. sienna seed, 1 met. sienna seed, 1- 4mm round amber pressed-bead, followed by 1 met. and 1 op. sienna. 

Each segment was secured in between satin beads on one side and pulled across the cell, then secured on other side between satin beads. 

Once five segment strings were secured across all cells, I framed them with a string of alternating single turquoise opaque 8/o seed beads and #2 Czech s/l bugles. The turquoise frame needed to be couched down. So, I trimmed the Stiff Felt foundation fairly close to the honeycomb.

Then stitched down the bugle frame between beads.

STRINGS AND STUMPERS

Next I had to deal with the stumpers. I stitched on the clips to the underside of the metallic button earrings

Then glued them down with E6000.

Since this was going to be a wearable piece, I strung a fine beading wire with alternating turquoise 8/o beads and amber 4mm round beads. Luckily, there were just enough round beads in the Bag! 

To secure the string to the buttons, I added a crimp, wiggled the wire through the underside openings of metallic button, wove the tail back through the crimp and pressed it firmly to stop the strung bead wire from slipping.

ADDING THE BACKING 

Once the string assembly was complete, I stitched down the clips to the back of the bead foundation. The metallic button was left exposed because it was a design element transitioning from the Honeycomb medallion to the fancy bead string.

Luckily, I had a piece of faux leatherette in my stash. I trimmed it to the medallion's size and basted it through all the layers so I could bead a clean finish. A traditional 3-bead finish would not work because of the turquoise bugle/seed frame! Don’t know if anyone ever did this before, but I figured out a way to catch the top and bottom through a sienna seed bead for a systematic stitch. Practical and neat. 

This is my creative solution dealing with the situation at hand. In the end, it looks like a bead sandwich layer between the Honeycomb and leatherette backing!

FRINGE FINISH

In another little bag were two novel beads which needed attention. Since the rule is, “use at least one from each bag”, I chose the round “world” bead instead of the chunky sienna tube bead.

To deal with this heavy bead, I tried suspending it from 8/ turquoise beads in the centre-front of my Honeycomb medallion. I figured surrounding fringes would soften the look.

I like playing with color and shapes in fringes. There were chiseled flat coppery beads (which I donated to the cause) in another bag. As well as a bag and short string of real amber chip beads. I felt there needed to be some zing between these interesting beads. In my stash I had a few turquoise chip slivers which worked really well in between the chiseled bead and amber. Of course, a turquoise seed bead at the bottom would not only holds beads on each fringe from falling, but add the ultimate zing.

The fringe is very organic. Each one varies in length and look because of natural material differences. This was not about perfection, but feel. 

The short headpin was a headache. I managed to thread a few beads on a headpin and attached it to the clip. See the highlighted pin on the photo. Challenge met, but not seen!

This Challenge was fun in the end because I let the beads and materials direct the creative process once I had the honeycomb theme and wanted it to be wearable. 

Beaded Anklet Remake

The best way to grow as a beader is to take on challenges where one can figure out how unfamiliar stitches go together while bringing a cherished memento back to life.

My friend, Naomi Smith, was looking for someone who would tackle the following: "A lady reached out and wants a remake of this beaded anklet. This anklet has sentimental value so she’s retiring the old one and will wear the new one."

Original Anklet

I took up the challenge. Naomi and I selected 11/ Czech seed beads in matching colors to the original. Next I sketched out the pattern on a slip of paper.

Mosaic Pattern Sketch

To me it looked like a mosaic (Peyote) pattern which I knew would be a unique start. I tied on a colourful stopper bead and proceeded to pick up the first beads. Since it's a tricky start. I even used a needle in the first row so I could keep the rows straight.

Mosaic Start

I found the 'V' pattern skewing! There's no way this would allow me to add the star fringe and picots!! My Beading Circle friends suggested I try using the brick stitch instead to recreate the pattern in the bracelet.

Comparing Mosaic v. Brick

Every brick stitch begins with a ladder stitch. On my third try, I got the base pattern right!! 1 White (W), 2 Teal (T), 1W,  1T, 1W, 2T, 1W, etc.

Next I figured out the way to get the second row to sit centered on the previous row and was happy with the stubby 'V' taking shape.

Adding Second Row in hand

The idea of the brick stitch is to pick up a bead and pass the needle through the edge thread of the previous row. By returning back up through the new bead, it secure sets the new one into place. This is wonderful for pictorial patterns and gradual 'V's. I like working in hand. Here is a link to a YouTube tutorial for brick stitch

Pulled Second Row in Hand

The magic is happening! 

Third Row

Super satisfied that the beads were falling into place and the pattern is matching up to the original anklet. I didn't finish off any rows until after the fringe trim was complete.

4th Row Added in Hand

ADDING STARS AND PICOT FRINGE

Once I had the desired length, I folded the beadwork in half. Then, tied on a stopper bead a wingspan (1.5m) from the bobbin thread and put the bobbin and rest of the beadwork into a ziploc. (An oversize bobbin flip cover would probably be more graceful!) 

Starting at the very centre of the beaded band, I worked my needle and thread down the centre of the brick-stitched beadwork. Upon emerging I started to create the star fringe. I found it best to seamlessly make the stars as you bead the fringe trim from the centre out. 

First I picked up the sequence of seed beads to drop down the star. Then 10 White beads for the centre of the star. Once the circle was formed, I could make five points as I went around.

Adding First Star in the Centre

The last star point is set when you insert the needle up the strung beads. Continue up through the brick beadwork in the direction of work. 

Finishing Centre Star

There are two seed beads between each fringe along the lower edge. Come out from the third bead away from the previous fringe. Pick up 2W, 2T, 2W for the string and 3T for the picot. As you turn around and insert the needle ups the string of 6 beads, a picot is formed. Tension is important here. If you pull the fringes too tight as you're working, they shoot out sideways; if too loose, they sag. 

Fringe in Progress with Bobbin in Ziploc

CREATING STAR FRINGE

Pick up 2W, 1T, 2W, 1T, 1W, 3T for the string and top point of star.  String 10W more to start the centre of the star.

Star in Progress

Form a circle by going through the first white bead. String 3T, 1W for first point. Turn around through the first teal bead. 

Start of First Star Point

Tighten for a white tip. 

Tighten Tip

String 2T and pass through the second white circle bead. Repeat 3 times for a total of four points. To complete the star, string 2T and go up through the string of seeds suspending this star.

Finishing Last Star Point

FINISHING ANKLE BRACELET

Once all the fringe trim was completed, I lined up the old and new beadwork to study how to finish off each end. Remember, I never secured anything because I did not know how my new beads would come together. I had to finish off each row individually, add and bead or two, weave in the ends. From the outside edge rows I strung on beads for the closure loop. I mimicked the previous loop exactly and reinforced it with a few passes of thread inside. For the button closure, I was not thrilled about recreating a beaded bead. Luckily, there was an oversized bead sitting in the ledge of my beading table! I added it and reinforced it a few time.

Finishing Ends

When I went to test the closure, I added a few stitches across the loop to tighten it when the large bead goes through. This is always tricky! Ideally, you want a bit for friction so the bracelet wears well. Since this was an anklet, it has to wear well!

Lastly, I needed to transfer the dragonfly charm from the old to the new anklet. This was loaded with memories. You could reproduce beadwork, but not the charm!

Reproduction Finished

Sunday, Nov. 22nd we drove through the first snowfall to Erin, ON to personally returned both anklets to Marjorie Wells. The original was a gift from a friend. Marjorie wore it all the time in sandal-weather. There was a lot of wear and tear and many repairs. The dragonfly was added three years ago in commemoration of her husband after the minister told a beautiful story of a dragonfly when trying to make sense of a dear grandfather's passing to children. The dragonfly is integral to the story, while the original beaded anklet is laid to rest in Marjorie's Memory box.

The Old and the New

Now that I had firsthand experience with the pattern building possibilities of the brick stitch, while perusing on Facebook a gorgeous bracelet beaded by Olya Kril, a bead artist in Ukraine, caught my eye. I complimented her and asked which stitch did she use to get this amazing result. Mosaic? or "like bricks"? 

Olha confided that she was inspired by a Pinterest posting. The best way for her to achieve pleasing results was by the brick stitch.

When she linked to her inspiration photo on Pinterest, I laughed. This was a pattern to the Peyote stitch using Miyuki Delica beads from Japan. What a small world!

Moral of my story: Test out techniques for achieving the mosaic look. For Olya and myself, the brick stitch work best with Czech seed beads. Seems like cylindrical beads work well for wide Peyote patterns.