Beading with Filigree: Beautiful Jewelry, Simple Techniques by Cynthia Deis

By Cynthia Deis

Delicate, luminous, appealing: no ask yourself steel filigree elements are a jeweler’s treasure. From old brass and copper to shimmering silver and gold, they pair completely with quite a few beads. This newest access within the bestselling Beading with sequence gains 33 subtle and completely fashionable tasks. The recommendations are basic; the diversity is wonderful; and the designs are modern and accessible.
Learn the right way to form filigree parts and change their end. realize certain ideas for combining the beads with the filigree. free up your creativity on initiatives full of high-end type. The Dinner at 8 Necklace weds diamond-shaped filigree connectors with sparkly crystal beads. Whimsical Whirlwind rings characteristic painted filigree and silk ribbon that supply a stunning pop of colour. each piece is gorgeous!

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Example text

60 Dia. 4. This time White uses 1 and 3 to attack on the right side. There is a good reason for his playing 3 on the fourth line instead of the third. Dia. 5. If 3 is played on the third line, Black will lose no time in striking with 4. After 6 his stones have better shape than they could possibly get in Dia. 4, and the space between White 3 and 5 and White Δ is too narrow. If White played 3 correctly at 5 and Black played 4, White would answer with ‘a’, not 3. 61 Dia. 6. If after the basic joseki White advances on Black’s corner with 1 here, Black 2 is a good reply.

White 6 gets in the way of Black ‘b’. and so is suitable if White wants to build territory on the lower side, but it is not as solid as White ‘c’. By and by Black may annoy White by playing ‘c’ himself, aiming at ‘d’ in the corner. 32 Dia. 4. After the kaketsugi at 5 White need not always extend at ‘a’. In this situation he might choose to make a shimari at 7 instead. Dia. 5. Thinking of this, Black can play 6 and 8, (or 6 and ‘a’, or 6 and ‘b’), instead of just ‘a’. Then after White 9 he can attack with 10, and Black 6 should turn out to be useful in the fighting to come.

In this situation, the spacing between 7 and Δ is also just right. The point ‘b’ may become another good extension for Black later on. Dia. 3. Sometimes White plays 6 as shown here, so as to be able to play ‘a’ later. White 6 gets in the way of Black ‘b’. and so is suitable if White wants to build territory on the lower side, but it is not as solid as White ‘c’. By and by Black may annoy White by playing ‘c’ himself, aiming at ‘d’ in the corner. 32 Dia. 4. After the kaketsugi at 5 White need not always extend at ‘a’.

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