Gaudi's Barcelona Bracelet
Instructor: Warren Feld
Casa Battlo Palette (Yellow Gold and Cornflower Blue)

Intermediate Level
--Bead Weaving Sequence
--Lesson: Non-traditional use of Petersburg Chain Stitch; Using 2-hole beads in your design
--Bracelet
BW2-13-STRBARC: CasaBatllo

KIT WITH INSTRUCTIONS ON CD 

Become one with the romantic ceramic tilework lining the sidewalks and streets of Barcelona. Gaudi’s vivid, undulating designs are mimicked with circular peyote, right angle weave and segments of Petersburg Chain.

NOTE: Regular retail and wholesale store discounts do not apply to kits. 

View Warren as Guest Artist on JTV.com Jewelry Television's show "Jewel School" 
as he discusses this specially adapted projects for Jewelry Television.

Streetscape: Barcelona

The GAUDI'S BARCELONA BRACELET KIT
Instructions to make a 6 1/2 - 7" bracelet
Supplies to make up to an 8 1/2" bracelet

PLEASE NOTE: Sometimes, because of erratic supplies of beads and other materials, we will need to substitute something of similar color and quality.

Palette #1: Montjuic (chartreuse and capri)

 Colors may appear differently on different monitors.

Palette #2: Park Guell (red and blue amethyst)

Colors may appear differently on different monitors.

Palette #3: Casa Batllo (yellow and cornflower blue)

Colors may appear differently on different monitors.

FORMAT OPTONS

(1) KIT with Instructions on CD

(2) CD Instructions Only

About the Kit...

I spent a few weeks in Barcelona, Spain, and marveled at the tile work that lined every inch of every sidewalk and many square feet of many streets.     Most of it was created by Antonio Gaudi.    The designs are very alive – spirals, curly cues, frenetic lines.    And the streets of Barcelona are alive with people everywhere.     The sun is warm, the colors both vibrant and muted – the city has a fun feel to it.      And this was my inspiration.

Coupled with this intensive emotional sensibility was my desire to try out using the Petersburg Chain stitch in a nontraditional way.    I wanted to use segments of chain in a lacy or filigree sense.    I liked the juxtaposition of “lacy”, fluttering Petersburg Chain stitch with the harder, more defined circular peyote and right angle weave of my brick walkway.

I did not have a sketch first.    Instead, I let “trial-and-error” lead my stitching paths.    But once I hit on the general design, I found I had to do a lot of tweaking.    

I always try to build in contemporary design principles into my pieces, which include adding movement and dimensionality to my pieces.    The main task here was to determine how to connect the Petersburg Chain areas to each other and to the skeletal structure.   You will find that my solutions involved some zig-zagged thread paths, and some resolutions of directional flows.

My test piece was in black and white.     As I re-did the piece and brought in color, I found I had another series of design issues to reconcile.     The piece uses a 4-color palette.     This will probably be the last piece I ever do with 4 colors.   Very difficult to pick 4 colors, given the imperfect availability of bead colors.

In this GAUDI'S BARCELONA Project...

What You Will Learn:
- Adapting the Petersburg Chain Stitch in a non-traditional way
- Manipulating "shape" and "dimension" in design, through modifications in applying the Petersburg Chain Stitch and the Right Angle Weave Stitch.
- Adding sense of "movement" to piece
- Mixing 2-hole and 1-hole beads within same piece
- Attaching a clasp assembly

TimeFrame:
This bracelet takes about 10-12 hours to complete

TABLE OF CONTENTS

SUPPLIES LIST, p. 4

1. I.              Planning Your Project, p. 6

Intro – Types of Choices To Be Made In This Project, p. 6

ABOUT PETERSBURG CHAIN, p. 7
COLOR AND PATTERN, p. 7
MANAGING SUPPORT SYSTEMS AND OTHER ARCHITECTURAL ISSUES, p. 8

Conceptualizing, p. 9

IA. Conceptualizing Your Piece, p. 9

IB. Measurement, p. 12

IC. Selecting Materials, p. 13
ID. Sketching a pattern or graph, p. 13
IE. Identifying Potential Areas of Weakness, p. 14

IF. Identifying How To Attach The Clasp, p. 14
IG. Visualizing Your Process, p. 14
IH. Organizing Your Work Space, p. 15

1. II.            Beginning Your Project, p. 16

IIA. Basic Steps, p. 16

IIA-1.  CREATE THE SIDEWALK (Skeletal Framework), p. 17
IIA-2.  ADD THE FLUTTER, p. 40
IIA-3.  ATTACH THE CLASP, p. 57

1. IIB.  Dealing with Contingencies, p. 63

IIC. Finishing Touches, p. 64

1. III.           Summary of Learning Objectives You Have Met After Accomplishing This Project, p.  65

1. IV.           Next Steps, p. 69

IVA. Suggested Readings, p. 69

LEARNING OBJECTIVES