Shaping beadwork, as taught by a master


Widely respected throughout the beading world, Diane Fitzgerald makes exquisite beadwork and loves nothing more than teaching others to try it themselves. With Diane Fitzgerald’s Shaped Beadwork, the recipient of the 2008 Bead & Button Show Excellence in Bead Artistry Award launches Lark Books’ Beadweaving Master Class series in style. Future books in the series will include entries from Marcia DeCoster and Laura McCabe. All three of these author-beaders are featured in Lark Books’ indispensable gallery book Masters: Beadweaving, which was curated by Carol Wilcox Wells.

How do you work, Diane?

I usually bead from about 7 a.m. to 10 a.m. and again in the evening from 7 p.m. to 10 or 11 p.m., sitting on the couch in front of the television. I’m a true couch potato. It is my “spot,” and my husband respects it. Well, actually, he’s afraid a stray needle might poke him if he sits there. The light is incandescent from a floor lamp to my left, and beside me on the couch and floor are my Delicas and projects. Occasionally, I clean it all up for company.

The rest of the day, I’m at my computer writing down what I’ve done or taking care of other business. I travel out of town to teach about once a month, and a couple of times a year I go out of the country to England, Japan, or elsewhere. England and Japan both have great beaders.

What made you think to do beadwork based on shapes—the idea behind Diane Fitzgerald’s Shaped Beadwork?

I am forever indebted to Julia Pretl, who I believe developed the specific patterns for making the four basic shapes: triangle, square, pentagon, and hexagon. She used these patterns to create marvelous boxes. I took the shapes in an entirely different direction: jewelry. One of the things that make these shapes reproducible is the availability of beads of consistent size and shape—Miyuki Delica beads—which come in a wide range of colors and finishes.

Do you have a favorite project in the book, and what makes it special to you?

My favorite project in the book is the Celtic Trefoil, which is made in one piece. Most beaders are quite surprised when I demonstrate how to make it. Like many pieces, this one evolved from the triangle, and then I went on to make a pointed oval link. Then, because I understand Celtic knot patterns, I tried making a pointed oval link with three points and a knot—and it worked!

Another piece that I love is the Tuareg Pendant, because of its use of bold shapes. I’ve made three of them now. I love the excitement people show when they first see these pieces.




What are some of the hottest trends you see in beadwork today?

Right now I see two major trends in beadwork: First, geometric design is gaining in popularity. Shapes are easy to create with peyote stitch and offer endless possibilities. Second, the use of Swarovski Crystallized Elements in traditional beadwork—as embellishments or integrated within the beadwork—is becoming more and more popular. Everyone loves sparkle. Of course, bead embroidery is also popular, and I’m waiting to see how the shapes featured in Diane Fitzgerald’s Shaped Beadwork will be used in embroidery.

To make ridiculous generalizations, what are some of the main characteristics you find many beaders—and particularly those drawn to beadweaving—share?

Beaders love to work with their hands, watching as patterns grow and taking pleasure in what they do. Beading usually goes beyond this, though: Beaders find each other and begin to form friendships or small groups that meet regularly.

Among beaders there is the joke that we seldom have eye contact when we meet, because we’re too busy enjoying the beadwork the other person is wearing! I encourage all beaders to wear their beadwork, so everyone can enjoy it. Be a walking art gallery.

Among the many wonderful bead artists working today, can you name one whose work is inspiring you these days?

One artist who inspires me is Jean Campbell, former editor of Beadwork magazine and author or editor of some 40 books. She brings an art-history background to her beadwork, and she coauthored (with Judith Durant) two books in the Beadwork Inspired by Art series that highlights this: Impressionist Jewelry and Accessories and Art Nouveau Jewelry and Accessories.

What advice do you have for a newbie—someone thinking of picking up beading needles, thread, and beads and getting started?

People who have never done beadwork could begin with my book, but I suggest that they take it slowly, be patient with themselves, and begin with a piece of flat peyote, just learning to work back and forth, to handle the thread and needle, and to control the tension. Then, move on to circular peyote with the triangle. Make lots of triangles before moving on to other shapes! If people need a little help, the local bead store is usually a good place to go.

Diane Fitzgerald’s Shaped Beadwork is selling widely, so we know it’s inspiring many beaders out there. Are you inspired, too, Diane? Might we see a second volume of shaped beadwork from you in the future?

You’re right: I’m working on it now. I just can’t stop making these shapes! But I’m not only making new shapes: I’m also incorporating colorful patterns and Swarovski Crystallized Elements, both as embellishment and within the beadwork. I’m looking at architecture and archaeology—for example, buildings such as the Sydney Opera House in Australia and the jewelry recovered in Afghanistan that is now touring the United States—for inspiration.

My hope with the first book, though, is that beaders will begin to create wonderful new pieces from the basic patterns and that they’ll write to me and send pictures.; contact me through my website at www.dianefitzgerald.com. Perhaps these could be incorporated in a gallery in a second book. We’ll see.