Directions-1

Rita Altman Yom Ha Shoah Candle Accessory Introduction At Yom Ha Shoah it is customary to light a special, yellow yaharzeit candle in memory of the six million martyrs of the Shoah. This pieces was designed to stand beside the candle as a special remembrance of those who died in the Nazi concentration camps. The letters are stitched in the colors of the prison uniforms our people were forced to wear. The lamps and the barbed wire recall for us the boundaries of their lives.The daffodils breaking through the barbed wire fence are the symbol of the invincible spirits that continue to bloom in our lives despite the boundaries are enemies tried to set for us. The butterflies commemorate the children of the Shoah. Materials • 14 ct. Aida or 28ct. Linen , 7 x9 inches, in white or cream color. You may also wish to use Fiddler Cloth, a beige l4ct. Aida.. • DMC Embroidery Hoss and silver metallic floss • #24 or #26 Tapestry Needle General Directions for Stitching Prepare your fabric by either whip stitching or zigzag stitching the edges of the fabric to prevent fraying. Locate the horizontal and vertical middle of your fabric by folding the fabric horizontally and then vertically. With light colored thread, baste along the horizontal and vertical folds or axises. The point at which the axises cross in the middle of the fabric corresponds to the the middle of the design charted. Locate the middle of the charted design. Mark that point on your chart. Start your cross stitching from the center point of your fabric (the place where the two basted lines cross) and work from the center outward in either direction. Work the entire piece using 2 strands of floss for each cross stitch. Use a single strand of floss for the barbed wire and a single strand of silver metallic floss to outline the letters. Complete the design using the color chart for the symbols shown. Place the finished stitched piece in a simple, 5 “by 7” standing frame. Color Chart Attached to the design. This design uses 848 stitches. Designer: Rita C. Altman © Rita C. Altman, 1994, Philadelphia, Pa. Second edition © 1999, Philadelphia, Pa.

Mary Beth Bellah, Prevail 40” x 43” Commercial cottons, chiffon, metallic and cotton threads, cotton batt. Machine pieced, hand appliqued and quilted. Embellished with chains, polished rocks and beads. Pieced back. In today’s world I believe it is too easy to allow oneself to become cynical and complacent to the outrageous acts that occur within our human family. To counteract the inertia that these attitude create, my quilt focuses on the knowledge that we *can* prevail over these injustices, if we work together. The sheer figures silhouetted in this quilt acknowledge those who have suffered at the hands of their fellow man. By honoring their memory, we take the first step towards avoiding repeated horrors. Born in Phoenix, Arizona (1962), and subsequently spending much of my adulthood in Texas, Italy, Germany and currently Virginia, I find my fascination with people and cultures spills over into my art. My undergraduate training (B.A. Psychology, Univ. of Dallas, 1985) and my graduate work (M.Ed. with a specialization in Counseling, 1988) have fueled my interest in understanding man as a complex, social creature and a subject to be treated with whimsy, satire or tenderness (as the need arises). When considering a topic as momentous and emotional as the holocaust, I chose to focus on the indomitable spirit of the survivor, rather than the horror of the event. Estimated Stitches: (very ballpark figure to include the construction stitches and the exterior quilting and beading stitches): 105,000 As with most of my work, I like to mix traditional quilting cottons with upholstery fabrics and the textures and possibilities provided by specialty fabrics such as the chiffon sheer overlay and the chains. I knew I wanted to reference back to the *individuals* who suffered through the holocaust but didn’t want to rely on photographs or scenes of horror. The shadow effect provided by the sheer fabric also adds a ghost like quality to the people referenced which appealed to my need to honor both the survivors and those who died. Both front and back layers of the quilt are machine pieced and hand appliqued. The chiffon figures were created by first ironing a freezer paper silhouette of each form onto the chiffon, I cut out around each figure, leaving approximately 1/2’ of extra fabric (which I latter frayed out with a needle tip). To sew the chiffon to the quilt top I used a running outline stitch with a metallic thread following the edge of the freezer paper. The beading and chains were added to the work after I hand quilted the layered quilt. I prefer to add the beading after the quilting because it reduces the chance of having your thread get tangled around the beads, and I believe that the additional stitching into the center batting layer helps to strengthen the quilt and reduce the chance of the embellished item being pulled away from the quilt. I am careful not to let my securing stitches go through to the backing layer of the quilt.

Miryam Brewer I love Hebrew, which is good since I am a Hebrew teacher. Hebrew is such a basic part of Judaism. It is found in our prayers, blessings, songs, holidays, names, stories, and teachings. It is in every aspect of the seasons of our lives. So I decide that what I wanted to design and contribute to this project was the specialness of the Hebrew alef-bet. I turned to Kabbalah, Jewish mysticism for inspiration about the Alef-Bet. The Hebrew language has been used throughout the centuries as a means of divine revelation and communication. The Zohar ( Book of Splendor ) has many references to the importance of the Hebrew language. One of the most important mystics was Abraham ben Samuel Abulafia (1240-1292). He developed a meditative system based on the Hebrew alphabet. He taught that a path to higher awareness could be achieved using the Hebrew language. Abulafia inspired many Jewish thinkers including Rabbi Issac Lurie and the Baal Shem Toy. It seemed fitting then to use one of Abulafia quotes in the design. I also love samplers. I love the challenge of doing specialty stitches. A band sampler would give me the opportunity to use various stitches I enjoy doing. I love using different fibers. The colors and textures and the different fibers are fun to work with and see. This design gave me a chance to work with several different fibers. This design gave me a chance to combine two of my loves, Hebrew and stitching. It was a joy to create this Alef-Bet sampler. Materials Used 1 .Cashel Linen 28 count — Ivory 1 8x27 Y2 inches 2. Needles — tapestry #26 3. Scroll rods 4. Scissors 5. Fiber: DMC — Blanc 414- gray 561- green 562- light green Coton Perle — DMC #12 — Ecru Weeks Dye Work — Turkish Red Navy Silk N Colors by The Thread Gatherer — Royalty 6. Beads — Mill Hill — Petite Glass Beads # 40557 Instructions Before stitching I recommend doing a vertical basting stitch on the left side of the fabric. This will help with the band placement. All the specialty stitches can be found in Favorite Stitches for Linen and Canvas by Linda Driskell. Another good resource is The Proper Stitch by Darlene O’Steen. Band 1 - Cross stitch the vine using DMC #561 The leaves are cross stitched using DMC #562. The pomegranates are cross stitched using Weeks Dye Works — Turkish Red. Band 2 — The rhodes stitch is done using Silk N Colors — Royalty. Band 3 — Using DMC # 561 stitch the feather stitch. Band 4 — The Alef-Bet is cross stitched using Weeks Dye Works — Navy. The crowns are backstitched using DMC ft 5282 Attach the beads when the project is finished. Band 5 — The long arm cross is done using Silk N Colors- Royalty. Band 6 — This is a four sided pull. Use Coton Perle DMC #12 — Ecru. You need to pull tight to create the holes. Band 7 — The doves are cross stitched using DMC — blanc Next backstitch around the doves using DMC ft 414. The eye is cross stitched using DMC # 414. The olive branch is backstitched using DMC if 561. Band 8 — Repeat Band #6. Band 9 — The horizontal sheaf stitch is done using Silk N Colors- Royalty. Band 10 — The quote is backstitched using Weeks Dye Works — Navy. Band 11 — The fan stitch is done using DMC # 562. Band 12 — The double herringbone stitch uses Silk N Colors — Royalty. Band 13 - Repeat Band #1. References I Favorite Stitches for Linen and Canvas Linda Driskell 2. The Proper Stitch — Darlene O’Steen 3. The Hebrew Alphabet, A Mystical Journey — Edward Hoffman 4. Encyclopedia Judaica 5. The Alef- Bet, Jewish Thought Revealed through the Hebrew Letters — Rabbi Yitzhak Ginsburgh.

Crystal Burton Never again

Joanne Carlson I am my beloved's... STITCH AND COLOR GUIDE STITCH/SYMBOL/COLOR/STRANDS Cross-stitch Hebrew and English letters dark blue 2 Backstitch personalization rose 1 “X’s light green 1 Lazy Daisy figure-eights light green 1 Outline stitch broken line arch dark green 1 Silk Ribbon embroidery spirals assorted Colors ribbon Joanne Carlson

Bev Feirstein Enclosed is a small sample of the table topper which I made for my daughter’s wedding. The life cloth gave me the inspiration to create something, which would be used for my daughter’s wedding and then passed on to future generations as her children are married and so on down the line. Since I did not have very strong needlework skills I made it very simple but it was very pretty. The picture and the sample does not do it justice. Here are the instructions: 1. I purchased a ready-made cloth called a TOPPER It is made by Keeco. .Handmade Lace Collection. 100% Cotton Cutwork. Size 42” Square. Design name is called Nice. .There are other patterns Note: You can buy any size readymade you like for whatever table you are making it for. This can also be made to be a cloth for the holiday table. I purchased it in Linens “N Things 2. I studied the design and decided where I wanted to place the roses and the pearls 3. I used a book by Judith Baker Montano called Silk Ribbon Embroidery for instructions on how to make the roses and leaves. I made the spider web roses. The instructions are on page 109. These can be made with any width of silk ribbon and whatever size you wish.For the leaves I used the Japanese Ribbon Stitch on P. 95. Enclosed is information about the book for those who wish to use it. I am sure any book on silk ribbon embroidery would have the same stitches. 4. After I embroidered the roses and leaves I embroidered the names of the bride and groom and the date of their wedding. This can be done by machine in a place that does embroidery. I prefer the handmade look whatever the skill level. This same technique may be used for making a handkerchief for the bride to carry.

N. Amanda Ford The art quilts created by Amanda Ford have two facets-her Judaic synagogue art and her non religious pieces that draw on a deep spirituality that creeps out into each new quilt constructed. Her pictorial pieces create an atmosphere that allows the viewer to feel like they are right there, while her abstract pieces evoke her audiences own inner emotions. Both draw on her ability to use and move color to evoke emotion. She uses various rich commercial and hand dyed silks and cottons to explore texture, movement, and perspective. Amanda’s goal as an artist is to allow her creative passion to inspire the viewer to draw on their own inner spirituality. Introduction to Tallit Construction By N. Amanda Ford The Torah gives us the laws and Talmudic tradition tells us how to fulfill the laws and making a Tallit is wrapped in Talmudic tradition. The Torah simply tells us to make blue tassels on the four corners of our garment, but no exact directions were given. All Talmudic measurements of length are presented in terms of a ‘finger’-the width of an average thumb. Somewhere between 34 inch and one inch. Four fingers make a handbreadth-3 to 4 inches, and six handbreadths make a cubit-i 8-24 inches. A piece of woven material does not have the status of cloth unless it measures at least three ‘fingers’ square. Anything less is considered a useless scrap and has no status in Jewish law. A Tallit must be large enough to be considered a significant garment in proportion to the body. As an absolute minimum, it must be at least one cubit in width, about 24 inches. In the case of thread or string, the significant measure is a double span, which is double the distance between the forefinger and the middle finger when the hand is spread out. This is approximately equal to four fingers. Again, any thing less is considered a scrap without Jewish status. Therefore, in order for a piece of string or thread to have any ritual status, it must be at least four fingers long. If a piece of thread is part of a garment it must be two fingers long to be of significance. This, as I will later discuss, dictates the length of the Tzitzith. We derive that the Tzitzith must be a double twisted string from the meaning of the Hebrew word “Pethil” or twisted string. It has three connotations. One is that one of the strings must be wound around the rest; the second is that two threads are twisted together; and the third is that because the word means joined and bent it denotes a double string. Therefore we make tzitzith out of four strings, doubled through the hole to make eight. These traditions help guide making a rectangular piece of cloth into a ritual garment. It must have four corners, with a significant portion of the tzitzith “on” the corner. The Talmud states this portion must be at least two fingers from the edge of the garment. This is the amount of Tzitzith string that must be “on the corner”. If the hole is any closer to the edge, the Tzitzith will be beneath the corner. More than three fingers from the edge and the hole is no longer on the corner, but inside the garment body. The Commandment for Tzitzith comes right after the Shaatnez law, the prohibition against wearing any garment that mixes wool and linen. Because these two laws are next to each other, Talmudic tradition tells us that there is a lessen in this. The laws of Shaatnez were set aside when one must place the blue woolen Tzitzith thread in a linen Tallit. Today, since we do not have the special blue wool to make the Tzitzith we do not use linen to make a tallit. Oral tradition(handed down from the time of Moses) tells us that the Tzitzith must be knotted to the garment in order to make it a permanent attachment. Double knotting is the simplest way of attaching the strings permanently. All that is truly required is a single triplet of three windings and double knot at the beginning and end. But because Rabbinical law required that the Tzitzith themselves consist of one-third windings and two thirds loose string we make the windings more elaborate. Also we need to take into consideration what is considered significant by ritual status, (remember those finger measurements) this then means that the tied tzitzith must be nine to twelve inches long and of twisted string. The tzitzith must be of wool or of exactly the same material as the Tallit and spun especially to be used in the Tzitzith. In ancient times they were blue, dyed with a special dye made from the shells of molluscs or some say a cuttlefish. Many believe that we do not have available to us the special dye used to make the blue tassels. The exception for this is a growing Chassicic movement in Israel that claims to have discovered the exact mollusc and have begun using the blue dye to dye the schmassash tassel(the one used to wrap all the others). They cost about $80 in Israel. Regular tzitzith cost only $6 to $10 at the Jewish book store. Tzitzith are very easy to tie but they must be tied by a Jew. All of this is just a long winded way of saying that a Tallit must have four corners, tied with Kosher Tzitzith, and not have linen and wool mixed together. What goes in between the four corners is all up to you and can be used to express your personal style, taste and spirituality. Traditionally a Tallit was made of a good light weight wool but silk is often used and is especially beautiful for a woman’s Tallit. Stripes are also a tradition but not a requirement. Extra fringe across the bottom of the Tallit can be unraveled wool from the edge of the wool or purchased and added to the edge of the garment. The collar is called the Atarah. A Tallit does not need to have one and if it does, it does not have to have anything written on it. Having an Atarah does help for decorative purposes and acts as a guide for putting on the Tallit. A Tallit is a very personal religious garment. It envelops you and immerses you in tefillah, setting your mood in the synagogue. As with the cloths you wear it is a true reflection of who you are. Designing and making a Tallit is a wonderful way of expressing yourself or showing someone how much you love them. Tallit Directions and Materials by N. Amanda Ford Finished size: 72”( length) plus fringe by 24”(width) Unfinished size: 80” by 26” Supplies 2¼ to 2 ‘/2 yards of loosely woven raw silk, note: ones were the warp(length wise threads) and the weft(horizontal threads) are of different colors are the most effective (use left overs for collar if contrasting silk is not purchased-see next item). You can get by with the 2¼ yards if you are sure that the material is cut on the true grain. Buy the extra ¼ yard if the fabric needs to be squared off(see #1 of directions). ¼ yard contrasting or coordinating loosely woven raw silk(optional) for atarah(collar) and corners ¼ yard each of two coordinating colors of silk Dupioni (sometimes called Thai silk) for trim (note: one color is enough if desired) 1 yard fusible woven interfacing one set Kosher Tzitzith available at Jewish bookstores matching thread general sewing supplies and cutting tools.

		Directions 1. Squaring off the fabric: Fabric is often sold cut off grain. To square off horizontal edge of material with grain, pull one thread until a straight edge is obtained all the way across the width of the fabric. Cut on this straight line. 2. Cutting to size: Cut length of fabric to 80”. Be sure second end is also cut on the true cross grain. Cut width of fabric to 26”. Measurements here are for an average size. The length and width can be adjust up or down depending on the size of the individual. 3. Making the fringe: Measure up 4” from each end of fabric and place a safety pin in fabric. Starting at the bottom pull off (unweave) one or two of the weft(horizontal) threads at a time. Keep pulling until you reach the safety pin. Remove the pins. Bunch about an inch of these loose threads together and tie into a single knot. Repeat this process all the way across the bottom of the Tallit. Do this to the other side. 4. Self stripes: Stripes will be created by pulling weft (horizontal) threads out of the fabric. Decide how many stripes would look nice with the weave of your silk. Usually an odd number (like 3 or 5) per side looks nice. Next decide how wide to make the stripes, anywhere between ‘/2” to 1 ¼” wide is pleasing to the eye. Strips can be of different widths. Measure up from the beginning of the fringe to the desired starting point of the first stripe. Pull out (unweave) one weft(horizontal) thread at a time until the desired width is achieved. Repeat for opposite side being sure to use the same measurements up form the fringe so that the sides match. (Optional: add purchased ribbons if desired.) 5. Side hems: Turn raw edge of long side under ‘/2” and press. Turn under ‘/2” again to form hem. Press and sew the pressed edge along the length of the tallit. Repeat for other side. 6. Make Atarah (collar): A tallit does not have to have an Atarah (collar) but it does help with placement when putting the tallit on. Cut a strip of fusible interfacing 2 ¼” by 27” (the size can be adjusted depending on size of person, usually 2 ~/2” is a comfortable width. A very tall person might need a longer length Atarah). Iron interfacing to wrong side of contrasting fabric or leftover tallit fabric following directions to fuse interfacing. Cut fabric to match size of interfacing. The ends can be squared off or trimmed at a 450 angle to form a point at each end. Cut 2 strips of coordinating silk Dupioni 1” wide and sew to Atarah on all sides with ¼” seam allowance (omit this step if only one color is used). Press excess up. Cut 2 strips of second color of coordinating silk 1 ‘/2” wide. Sew to Atarah on all sides with ¼” seam allowance. Press excess up and to the back. Mark the center of the Atarah. Mark center of tallit on one long side. Match the two centers and pin Atarah to tallit. Sew around the trim to attach the Atarah to the tallit. 7. Make corner squares: Cut a strip of fusible interfacing 3” wide by 12” long. Fuse to contrasting silk or left over silk from tallit. Cut four 3” squared from fused fabric. Cut 2 strips of coordinating silk Dupioni 1” wide and sew to corner on all sides with ¼”seam allowance (omit this step if only one color is used). Press excess up. Cut 2 strips of second color of coordinating silk 1¼” wide and sew it around each square with ¼” seam allowance. Press excess up and to the back. Sew each corner square to corner of Tallit. Sew a small button hole (about ¼”long) in the center of each square. 8. Tie Tzitzith in each corner.

Edward Frowine

“The Ch’ai” an amulet bag /purse necklace Introduction I am Edward Frowine. I have been beading since the mid 1960’s, “Make love not war!” and “Draft beer not men!”were common mottoes. I started stringing beads on fish line for “Love beads” and ended up selling them for spending money through the rest of college. I have worked in a variety of media; photography,fiber art,lost wax cast jewelry ,lapidary and ceramics; thrown pots and sculpture. My education is predominately informal, however, I have studied with experts when I couldn’t research the answer. This project resulted from a discussion with my wife and my desire to make her a necklace, in the amulet bag style, with religious significance. It is based on a traditional talus design. My choice of materials varies with each bag. For a formal look I have used two-cut and Delica beads,for glitter, three cuts or Charlottes,and for a textured,informal look, seed beads. I do not cull my seed beads because I want a variable surface texture. I have used pale,medium and dark blues, silver,opaque and pearlized whites, with and without AB (Aurora Borealis) coating. It is a matter of personal taste. Any one should be able to do this project. However, the more experienced will take less time. MATERIALS LIST- 1 pkg./4 #12 or 13 English Beading needles 1 bobbin/100 yds. white “A” nymo beading thread 20 grams 11/0 royal blue silver lined seed beads 100 grams 11/0 white pearlized seed beads 13/15 3x1 1mm royal or cobalt blue transparent blue daggar beads 13/15 6mm clear bicone crystal beads 6 6mm dark blue bicone crystal beads 20 grams royal blue silver lined 1/4” bugle beads 1 tube super glue gel or clear nail polish for coating knots, not needed if you back weave. 1 pair embroidery sissors BUILDING THE BAG- Square stitch and tubular brick stitch Sort the bugle beads for 15 of uniform length. Load one white seed bead, one bugle, two white seed beads, one bugle and one white seed bead. Pinch the thread 2 to 3” from the end and slide the beads down to your fingers.Draw the needle through the first seed/bugle/seed (slbls) bead combination and draw the thread through until the second seed/bugle/seed (slbls) bead combination is drawn against the first. Run the needle down through #2 s/b/s, up #1 s/b/s, down #2 s/b/s, snugging the thread as you go. Repeat until you have a 15 s/b/s ladder formed. This is the square stitched foundation of the bag.The thread tail identifies #1 s/b/s. (see illustration #1.) The thread exits the top of #15 s/b/s. We will now switch to tubular concentric brick stitch to build the body of the bag. I find that pointing the tip of the needle toward me, so I can see the tip go under the thread bridges, makes it easier to do this stitch. Load 2 white beads on your needle and run the needle under the threadbridge between s/b/s 15 and 14, snug the thread and run the needle up through the second bead and snug.(see illustration #2, figure A.) Repeat this until you have snugged the bead between s/b/s 1 and 2. Load bead 16 and run the needle back under the threadbridge between sIb/s 1 and 2, the next bead use the threadbridge between 2 and 3, repeat this step back to the threadbridge between sIb/s 1 and 2. After adding and snugging bead 30, run your needle down through bead 1 and up through bead 30 to close the first row. (the first row on Graph I.) Alternate rows should be beaded in the opposite direction to maintain thread position with the graph,ie. first row clockwise, second row counterclockwise, etc. You work left to right , then right to left from the bottom to the top of the graph.(see illustration #2, figure B.) For the second row you will use blue beads. Load two beads on your needle then run the needle under the thread bridge between bead 30 and 29, snug and run the needle through the second bead. These are beads 30 and 29 of the second row.Load one bead and run your needle under threadbridge 29128 and back through the bead and snug.Repeat on around the bag.After snugging the 30th bead(bead #1), run the needle through bead 30 and up bead 1 to close the row. Repeat these steps on each row. At this point you can customize this pattern to your own taste or follow the pattern as graphed. (see graph #1.) For thin stripes use one row of beads, medium stripe,two rows or wide stripe, three rows. The pattern uses three rows of blue stripes of varying widths with one or two rows of white between each row of blue and two rows of white before starting the Magen David or Ch’ai and two rows of white before starting the top blue stripes above the Magen David or Ch’ai. After completing the top blue stripe you will finish off the top of the bag with white seed and blue bugle beads.Load one white seed, one blue bugle,two white seed, one blue bugle and one white seed bead, run your needle under the threadbridge between #1 and #30. If you need to go clockwise run the needle up the left s/b/s, which is #1. If you need to go counter-clockwise run the needle up the s/b/s on the right, which is #30. This is important because the threadbridges between s/b/s/ #16,17,18,27,28,29 and 30 need to be reinforced to support the added stress of the neckband connections. If you are going clockwise, after adding #16, run the needle down through #15 and out,load 18 white seed beads and run the needle back through the first 17 beads and up through sib/s #16 allowing the beads to dangle, this is the top left faux tzitzit ,add #17, then down #16 up #17, add #18,down #17 up #18, add #19, down #18 up #19, add through #28, then down #27 up #28,add #29,down#28 up #29 down #30 up #29 down #30 and out. load 18 white seed beads and run the needle back through the first 17 beads and up #30 sib/s and down #l.Weave the needle through the beads to the bottom corner. If you are going counter-clockwise, add #29, then down #30 up #29, add#28,down #29 up #28,add #27,down #28 up #27, add through #18, then down #19 up #18,add #17,down #18 up #17,add #16,down #17 up #16,add #15,down #16 and out,load 18 white seed beads and run the needle back through the last 17 beads and out sib/s #15 so the beads dangle, add through #1,down #30 up #1 down #30 and out. Load 18 white seed beads and run the needle back through the first 17 and up s/b/s #30 so they dangle,then down #1 and weave the needle through the beads to the bottom corner. To add the bottom faux tzitzit you have two choices. Choice #1- Run the needle out bead #1 of the first row above the s/b/s foundation.Load 18 white beads and run the needle back through beads 17-1 and up through bead #30 of row one. Snug,but allow the beads to dangle.Run the needle back down through bead #1 ,up#2,down #3,until you have drawn the needle down through bead #15 of row one. Load 18 white beads and draw the needle back through beads 17-1 and up through row one bead #16. Snug, but allow the beads to dangle. This is how the project bag is done.Trim the thread tail from sib/s #1, then run the needle

down through bead #15 row one and through s/b/s #1. Now follow the directions for a fifteen row fringe. Choice #2- Run the needle down through sIb/s #15. Load 18 white beads and run the needle back through beads 17-1 and s/b/s #15,allowing the beads to dangle. Follow the directions for fringing s/b/s #14 through #2 and run the needle down through s/b/s#l after trimming the thread tail off. Load 18 white beads and draw the needle back through beads 17-1 and up through s/b/s #1 and through bead #15 row one of the bag. Snug, but allow the beads to dangle. Pass the needle down through bead #14 and back up through #15 and up through bead #15 of rows two, three and four.Snug the thread and pass the needle down through bead #14 row four and back up #15 and up through #15 of rows five, six and seven. Snug the thread and trim the thread as close as possible. Now proceed to build the neckband. FRINGING-graph III Tzitzit Choice #1-fifteen rows of fringe. Use the bead pattern shown on the graph.The progression area is used to adjust each fringe so the crystals rest on each other’s flat angles,to avoid chipping, and to get the shape I wanted. s/b/s#l-white,blue,bugle,blue,2 white,crystal,3 white,daggar,2 white,run the needle back through white,crystal,2 white,blue,bugle,blue,white,s/b/s#1 ,snug,allowing free dangle.Run needle down through s/b/s#2-2 white,blue,bugle,blue,3 white,crystal,3 white,daggar,2 white, run the needle back through white,crystal, 3 white... s/b/s/#2,snug,allowing free dangle.Run the needle down through s/b/s#3-blue,2 white,blue,bugle,blue,3 white,crystal,3 white,daggar,2 white,run the needle back through white,crystal s/b/s#3, snug,allowing. . .Run needle down through s/b/s#4-white,blue,2 white,blue,bugle,blue,4 white,crystal,3 white,daggar,2 white, run the needle back through white,crystal s/b/s#4,snug Run needle down through slb/s#5-blue,white blue,2 white,blue,bugle,blue,4 white,crystal,3 white,daggar,2 white,run the needle back through white,crystal s/b/s#5 Run needle down through slb/s#6-white,blue,white,blue,2 white,blue,bugle,blue,5 white, crystal,3 white,daggar,2 white, run the needle back through white,crystal s/b/s#6 Run needle down slb/s#7-blue,white,blue, white,blue,2 white,blue,bugle,blue,5 white,crystal,3 white,daggar,2 white, run the needle back through white,crystal s/b/s#7 Run needle down through s/b/s#8-This is the center fringe strand.6 blue,2 white,blue,bugle,blue,6 white,crystal,3 white,daggar,2 white, run the needle back through white,crystal Run needle down s/b/s#9-same as #7 s/b/s#1O-same as #6 s/b/s#1 1-same as #5 s/b/s#12-sameas #4 slb/s#l3-same as #3 s/b/s#14-same as #2 s/b/s#15-same as #1 … s/b/s#15. Run the needle up through bead#1,rows 1,2,&3. Run the needle down bead #2,up#1,snug, and up beads#1,rows 4,5,&6. Run the needle down #2 bead,row 6 and up #1 ,snug and up beads #1,rows 6,7,8&9.Trim the thread. Tzitzit Choice #2-see Graph Ill-follow directions above for rows 14-2. THE NECKBAND-Flat square stitch (see illustration #3) I designed the Sh’ma, in Hebrew, into the neckband. See Graph 5. It is five beads wide and one hundred and three rows long. For this necklace I decided to outline it in blue beads, so I added two rows of white beads at the beginning and end and an extra line of white beads above and below. So this neckband will be nine beads wide and one hundred and nine rows long. Run one bead down near the end of your thread and tie it with a square knot.This is your ‘keeper’ bead, it keeps your beads from falling off as you start. You will cut it off later, right now it tells you where your lower corner is located. Load ten blue beads and run them down to the ‘keeper’. Run the needle up the ninth blue bead and down the tenth bead. Slide this pair back down the thread to the other beads, but not too tight. (You have made your first square stitch.)Load a white bead, run the needle up the eighth blue bead and down the white bead.Load a white bead,run the needle up the sixth blue bead and down the new white bead... fifth... fourth.. .third. . . second.. .Load a blue bead,run the needle up the first blue bead and down the new blue bead.Run the needle up the first row and down the second row twice.Do not go through the ‘keeper’.Your needle is now coming out the bottom of the second row.Load a blue bead,run the needle down the blue bead beside it and up the new blue bead.Load a white bead,run the needle down the white bead beside it and up the new white bead.Continue up the row adding matching beads.Your thread should come out the top of the third row.Run the needle down the second row and up the third row twice.This reinforcement is necessary at both ends of the neckband because the connector strands ,between purse and neckband, attach there to complete the necklace.You need only run the needle through the succeeding and new rows once through the Sh’ma portion of the neckband to stabilize the beads.

You are now ready to add the Sh’ma.If you are right-handed start adding the Sh’ma from row 103. If you are left-handed start adding from row 1, this keeps the letters right side up,since Hebrew is read right to left, and your hand works away from the pattern, not covering it, so you can see the letters emerge.Remember, each row starts with a blue bead then a white bead,then bead row from the graph,then white bead,then blue bead.After you have added the first letter, so you can tell top from bottom, you may trim off the ‘keeper’ bead. When you have completed adding the Sh’ma,remember, as you add the final two white and one blue rows, go through each row twice with the needle to reinforce them. To finish off the neckband, backweave the thread. Run the needle up the first bead of row (l06/2) and down the last bead of row (1O7/1) and up row (106/2). Repeat with rows 105/3 and lO4/4. Trim the thread and you are done. The neckband is approximately 8” long. I square stitched the entire neckband for my wife’s necklace and swore never to do it again. It took too much time! I make the necklace 24” or longer, to go over the head easily, as there is no clasp. I recommend the following method, instead, for attaching the neckband to the purse. CONNECTING THE NECKBAND-see Graph IV. Lay the band out so the word Sh’ma is upside down, it will be attached to the purse’s top back left side. The Echad end will be attached to the top back right side.That way you always see the Sh’ma correctly before putting on this necklace. If it is upside down,it is either twisted or backwards. If you are right-handed, work from the outside in on the left and the inside out on the right. If you are left-handed, work from the outside in on the right and the inside Out on the left. That way your completed work doesn’t get in the way as much. Start with about 8’ of thread. Backweave the end as described in the neckband,in the rows of the purse below s/b/s#1 or 15, draw the needle up through sIb/s #1/15. String the desired length of seed and large or crystal beads, starting and ending with at least 9 seed beads.Pass the needle through the first bead of the neckband and back through the strand of beads to the purse.

Draw the needle under the threadbridge between s/b/s#1/15 and #2/14. Draw the needle up through the beads through the first crystal. String the same number of beads between the first and second crystal as the first strand,run the needle through the second crystal. String the same number of beads between the second and third crystal as the first strand, run the needle through the third crystal. String the same number of seed beads as the first strand, run the needle through the third bead of the neckband and back through the strand to the purse.Run the needle under s/b/s threadbndge #1/2(#15/14), under #2/3(#14/13),under#3/4(#13/12) and under #4/5(#12/1 1). String the same number of seed beads as the first two strands, run the needle through the first crystal.Stnng the same number of beads between crystals as the first two strands and run the needle through the seventh neckband bead and back through the third strand to the purse. Run the needle under s/b/s threadbridge #4/5(#l2/1 1) and repeat, attaching to the ninth bead of the neckband and back to the purse. Run the needle down through s/b/s#5/1 1 and up s/b/s#6/10, twice. Repeat with s/b/s#7/9. Trim the thread. Repeat on the opposite side and the necklace is done! What you put in the purse is up to you; a shekel,charm, stone, or crystal, or nothing at all! It’s up to you. Enjoy this necklace and wear it in good health. If you are unsure of my directions or graphics an excellent source for directions and graphics for these two stitches is Creative bead weaving by Carol Wilcox Wells; tubular concentric brick stitch is on p.69 and flat square stitch is on p.83. The completed sample necklace has a 25” neck opening, the purse measures 1 1/4” wide by 2 1/2 high, the fringe hangs a maximum of 1 3/4” long; the purse is 4 !/4” long overall. Number of beads and stitches- Purse-I 035 Neckband-999 Connectors-794 Fringe-279 Total-3 107 beads and stitches Abbreviations- pkg.-package mm-millimeters "-inches '-foot/feet yds.-yards #-number s/b/s-seed bead,bugle bead,seed bead combination

THE CARE AND FEEDING OF THIS NECKLACE- This necklace is a piece of personal adornment. If it is treated with care and respect it will last for hundreds of years.If it is treated carelessly it will not. DO NOT WEAR THIS NECKLACE IN THE BATH, SHOWER OR POOL!!!!! Wet thread stretches, rots and breaks. Keep it dry.

Please remember to donate $1.00, per set of directions copied, in memory of Rita Lenkin Hawkins, to your local Holocaust Memorial Center or the United States Holocaust Memorial Museum. Their address is http://www.ushmm.org/ Go to the lower right corner and click on Join and Donate. Thank you.