Lessons on making necklaces from beads and natural stones. Charming necklace embroidered with beads Embroidery necklace with beads on the base

So, Good evening, dear subscribers, buyers and all those who expect and love my master classes!

Today I present to you my new master class on embroidery of a massive bright necklace "QUEEN OF AUTUMN"

ATTENTION!!! The master class is intended solely for familiarization with the techniques of embroidery with beads. This necklace is an author's jewelry!

I will say that I made a necklace of this kind for the first time. This refers to the scale and design of the decoration. Since earlier, of course, I created large necklaces, but they were fundamentally different both in terms of pattern development and in general in terms of execution (I'm talking about Egyptian mantles, about the Nymph). Therefore, I solved some issues, mainly related to the filling of the necklace, for the first time. As usual, I will share with you the stages of my work and tell you in detail about this necklace, about the idea of ​​​​creating it. This is the 2nd MK for necklaces, previously there was MK for the Greek Santorini necklace - but it is completely different in its content and design. Therefore, in this master class, perhaps one of you will find answers to some of your questions. I will also draw a parallel with some of my other necklaces, which will also give answers to some interesting questions, which you periodically set)

So let's start:

We always start with inspiration and ideas. As I always say, it's great when a piece of jewelry has its own history.

And these are the pictures that inspired me, it was these images that were spinning in my head when I was working on the decoration...

and of course the lines of the Great poet, which I cannot separate from this decoration, and which are inextricably linked with it)

"A sad time! Eyes charm!
Your farewell beauty is pleasant to me -
I love the magnificent nature of wilting,
Forests clad in crimson and gold,
In their canopy of the wind noise and fresh breath,
And the heavens are covered with mist,
And a rare ray of sun, and the first frosts,
And distant threats of gray winter." (A. S. Pushkin)

I want to note that the necklace in the end turned out to be predominantly red-burgundy tones ... but it was originally conceived in red-brown-golden tones ... But, as I already wrote in previous MCs: it often happens that you don’t know what you get in the end ... at least that's how it turns out for me ... how the hand with the needle will lead me and what kind of beads I like and seem suitable for the realization of my idea, this will be the outcome) ... because at the beginning you add in the mind only sketches, shapes and scale .... and then, already in the process of work, the final look of the decoration emerges ... And this has its own charm) magic)

The necklace itself was conceived a very long time ago, about 1-1.5 years ago...but it took a long time to select the material, which is used here a lot) Probably, by the number of stones, this is one of the most filled jewelry that I made...then a sketch and an idea were thought out ... everything was finalized and so on. As a result, I started working on it spontaneously - when a small window in orders appeared (To be more precise, there are practically no windows. It’s just that now I accept orders selectively, and mainly for new works, I rarely do repetitions). I made the final sketch one fine November evening, when inspiration flooded in) ... and at the same time I decided to make a new MK)

Now I will list materials needed for work:

1. Dragon vein agate orange, almond-shaped cabochon bead, large, about 50x 25x 5 mm.

2. Jasper cabochons, drop shape. I had a set consisting of 9 cabochons of different sizes and shades - pink and burgundy,

3. Oval rhodonite cabochons,

4. Drop-shaped pyrites,

5. crystals in dacs bright red color and 2 orange crystals

6. Swarovski red rivoli

7. Sew-on and adhesive crystals and rhinestones of round and irregular shape.

8. Shaped crystal - rice, I had brown and burgundy,

9. Crystal rondels, 4 mm in diameter, brown and burgundy,

10. Red rondels, 7 mm in diameter.

11. Vintage Venetian beads, brown-red hue,

12, Czech red beads, numbers 9 and 8, matte red beads, burgundy beads.

13. fittings - bronze caps for beads, lock - toggle.

14. Genuine Leather black or some other color.

15. Basis for embroidery.

19 paper,

20. Pencil, ruler, scissors.

21. Pearl purple hue, river.

22. Faceted cabochon jasper burgundy.

Since the work is big and various materials a lot was used, then if I forgot to indicate something, I will sign it later

So, Pattern and sketch.

Sketch here, as such, in principle, and no. The main thing here is to do nice shape and a necklace pattern, and put it on a mannequin so that everything fits nicely. Therefore, first we start laying out the stones ... I shuffled the stones back and forth for probably 2-3 hours, until everything suited me)

Then we circle the stones, clearly outlining the contours of the necklace.

This action can also be repeated many times until the pattern finally suits you and sits perfectly on the mannequin.

This is how I ended up with a pattern and layout of stones.

By the way, at first I wanted to use as a central, instead of almond-shaped agate - drop-shaped agate. You see it in the frame) But then, I decided to replace it ... and in the end I turned this agate not vertically, but horizontally.

Trying on a mannequin. Somehow I was asked the question - “is it possible to do without a mannequin?” ... the answer is theoretically possible ... But, in my opinion, trying on patterns on a mannequin is much easier and more convenient than trying on yourself, or on someone .

I'm not talking about such decorations that require their assembly and completion right on the mannequin. So it was with the "Magic of Flowers" necklace, which I literally assembled on a mannequin while standing. There was originally an embroidered stand - the basis of the whole structure, which was then put on a mannequin, and all the fringe was already made according to the drawing and attached to the stand dressed on the mannequin. Since, if we performed these actions on a necklace laid out on a table, then, when putting jewelry on a person, our pattern would simply simply shift and go astray .... Those who tried to make a fringe with a pattern, I think understand what I mean...

Well...that was a bit of a digression. And now back to our Autumn)

Now we trace our pattern and transfer it to the basis for embroidery - interlining. I won't dwell on non-woven fabric. Those who read me for the first time can familiarize themselves with earlier MKs, in which I wrote about the basics for embroidery in great detail.

We have translated and you can still draw a line in the center - this will make it easier for us to work further when we glue the pebbles.

Next, I showed again the layout of the stones, on the already dyed interlining. Since our necklace is bright, I did not leave the base just white, but painted over it with mother-of-pearl acrylic paint copper shade.

Now let's start embroidering our decoration. First I sew necklace outline and then I fill it up. There are 2 options.

2nd, first sew on the main elements and stones, and gradually sheathe them - this is a freer option ... until we come to the end. (This is how I worked when I created the MERMAID SONGS necklace)

But in this case, we have a clear pattern, so the 2nd option will not work for us.

Close-up.

here I used vintage Venetian beads, which plays very beautifully with its edges.

I embroider with lavsan threads.

Recently, I was asked a question about threads. which ones are preferable? "Quote: Nylon and lavsan fray at the end of the thread, and nylon shamelessly twists in work after 3 stitches "

The answer is that lavsan threads suit me personally. no complaints. And I have already written about this in previous master classes. I've been sewing them for 3 years now. Therefore, I do not even know how to comment on this issue. Before that, she also embroidered with kapron. Of course, sometimes they can get a little tangled and you need to keep an eye on this ... But any thread can get tangled .... you need to be careful in your work. so - to each his own .... I'm just voicing my experience.

I started from the center and went to the edges. I felt more comfortable that way. You can do whatever suits you.)

First I glued dragon vein agate and faceted jasper and sewed them on

We sheathe stones, sheathe them with mosaics in several rows, depending on the thickness of the stones.

I no longer dwell on the skin in detail, since very, very much has been said about this. This can be read in the previous MK. Here I dwell only on new points, which I have not written about before.

Jasper I sheathed maroon beads. I am agate with copper-colored beads.

For jasper, I took beautiful golden Czech beads.

Next, I separately first glue and sew on the frame from the crystals, and then insert the crystals. I did this because they protrude more from the back than the red crystal. and otherwise we will not be able to sew them.

Now I want to sheathe our center bright red crystal. And for this I take bright rondels with a diameter of 7 mm.

I sewed them sideways, in relation to the crystal, and retreated a little space between the beads.

I also glued 2 more jaspers on both sides and sheathed them with golden beads. it can be seen in the photo.

Then I fill in the spaces between the red roundels. Picking up pieces of 10-12 red beads and making loops.

And then I want to sheathe our agate and faceted jasper with burgundy-tone crystal, shaped like fig.

Then we sew rhodonites with maroon beads.

And glue a couple more jaspers.

And that's what we have at this stage of our work.

Then I took the burgundy crystal again and sheathed the rhodonite.

And here the jaspers sheathed with golden beads are already shown, which were waiting for their turn) We also gradually glue the rest of the pyrites.

And, I forgot to point out - we sheathe orange crystals in the same way. Just like we sewed red in the center.

Only for them I did not use rondels, but simply round burgundy crystal beads. But this is not so important.

Sheathe other jaspers with brown crystal.

We sew our sewn-on crystals with vintage beads.

Here is what we have at this stage of work.

Then, we will sheathe the rivoli with burgundy crystal, and the pyrites with brown crystal.

And here's what it looks like already almost filled necklace...We can say that we have completed the main part of the work...

But we still need to fill in the remaining gaps and work on the edges of the decoration.......

So let's continue.)

At some intervals I want to sew on purple pearls

sew on pearls. pearls were of medium size, about 6x8 mm.

And then, I took Czech beads - matte with overflows, number 9. And I just randomly fill in the gaps.

By the way, I thought for a long time - how best to fill in this case ... linearly, or randomly. But on reflection, I came to the conclusion that it is better - just chaotically.

I did NOT fill in all the gaps... because I will be filling the bottom of the necklace with other beads to create a transition of texture and color.

Here's what I get.

I filled the gaps at the bottom of the necklace with red beads of the number 10, with an iridescent overflow. and also added brown beads - this can be seen in the photo.

That's it!) We've finished filling our decoration...

This is how it looks.

After that, carefully cut out the necklace.

And glue it to the skin. In this case, I did not put any cardboard or paper between the embroidery and the leather...because the necklace should lie beautifully on the figure, and not "stand like a stake". But it turned out to be rather harsh because of the abundance of stones.

I used black Italian leather. In principle, I mostly use either dark or light-white skin, depending on the color of the jewelry) I don’t particularly use colored.

let the necklace stick well, and the glue to dry.

And then just cut it out.

Well, it remains to process our edges. How to sheathe them, I also will not tell in detail - this can be read in earlier MKs.

For sheathing the edges, I used 2 types of beads - a vintage felling and a red round Czech, numbers 10.

I alternated the beads when sheathing.

It is such a feeling of joy and anticipation when you hold in your hands an almost completed work and understand that there is only a little left - to make a chain)

And this is our underside)

Chain.

I made a chain of large crystal beads, red faceted agate beads, rhodonite beads, using bronze-colored bead caps.

I had a variety of hats-caps. We choose the appropriate diameter of our beads.

I start making a chain from the end - from the lock, moving to the necklace, then we fasten it to the necklace, tie knots and fill the ends. I usually make it in several threads so that it is stronger, since our necklace is massive.

This was the final step!

The decoration is ready, and we just have to take a picture of it in good daylight)

So, the necklace sits on a mannequin.

I also present a photo of the necklace on the model.

For this photo, special thanks to Elena Moiseeva (Corset-City) www.livemaster.ru/korset-city.

I hope you enjoyed the MC!

All questions, as always, please write in the comments, we will understand)

Thank you for attention!

For work we need:
- three "marquise"-shaped stones (I have cacholong and two pegmatites);
- bead 8 mm.;
- crystal beads-rondels 5x3 mm.;
- two beads-drops 10 mm;
- Japanese glass beads 3 mm;
- pearl beads, crystal light, nickel color (I mostly use Japanese TONO sizes 15/0 and 11/0);
- simulated felt (or other basis for embroidery);
- natural or artificial leather;
- accessories (carbine, chain, pins, connecting rings);
- threads (I have Silamide A);
- beaded needle;
- glue, cardboard, scissors.
And be sure good mood and desire to create :)

I use this pattern for a necklace. Its authors are Natalia - kiki and Julia Izerska - Hotey. This pattern is good for semi-rack necklaces.

On the simulated felt, mark the top line of the necklace and the center line. You can use adhesive interlining folded in several layers, but I would not recommend using leather as a base, because. it will be difficult to achieve evenness of long beaded rows on it. But if you are used to embroidering on leather or you have no alternative, then, of course, you can use it too :)

Lay out the central elements.

My central cacholong was very thin. To get a beautiful frame, I need a stone higher. And I decided to artificially raise it :) I glued it on a piece of simulated felt, and then cut it out along the contour of the stone. This method is good because it increases the thickness of the stone without making it heavier, because the felt is very light. Before gluing the stone, we carefully process its back surface with a needle file and degrease it with alcohol or acetone.

Let's start embroidery. Sew in the center large bead 8 mm. We sew well - no less than 4 stitches.

Now we will trim the bead along the contour with size 11 pearl beads. We sew in the "back needle" way. We bring the needle from the inside out to the face.

We string one bead and insert the needle into the felt to the left of the thread at a distance equal to the thickness of the bead.

We bring the needle from the inside to the face to the right of the sewn bead at a distance equal to the thickness of one bead.

We string the next bead and insert the needle into the already sewn from right to left.

We stick the needle into the felt without retreating any distance.

We continue in the same spirit.

Thus, we sheathe the entire bead in a circle. We pass through the beads with a thread one or two more times to align.

We take Japanese pearl beads of size 15 and embroider a base row around the stone. You need to stick the needle all the time as close to the stone as possible.

For the frame "in the cross" we need an even number of beads in the base row, so do not forget to follow this. If you get a number of beads that is a multiple of 4, then you can make beautiful teeth in the frame :) I got 108 beads.

We begin to weave a frame. For the central stone, we will make the frame a little higher. To do this, we leave the bead of the base row, collect 5 beads and enter the original bead.

Then we pass into the next 2 beads of the base row.

We got the first enlarged link of the chain in a cross. Weave further - we collect 3 beads and pass the needle into the 2 extreme beads of the previous link from top to bottom.

Then we pass the needle through the three beads of the base row.

We continue in this way to weave a chain around the stone.

Let's go to the beginning. We pass with a needle into 2 beads of the first link from the bottom up.

We collect one bead and go with a needle into 2 beads of the last link from top to bottom.

We close the link.

We do not insert a bead in the corners between two adjacent links, we just pass through the thread.

They tightened the frame. Now you can make decorations - cloves. To do this, we insert another bead between two crystal beads, and skip the next pair of beads. And so on throughout the frame.

We've got an elegant frame for the stone. We glue pegmatites on both sides symmetrically. Do not forget to process them from the back with a needle file and alcohol. Also, do not forget to leave a distance for the beads of the frame.

We embroider the base row around the pegmatite with a size 15 crystal light.

And we weave the same frame into a cross. Only here in the first link there will already be 3 beads, and for the subsequent ones we collect 2 beads each.

We tighten the frames of pegmatites with pearl beads of size 15. I didn't make teeth.
Yes, so that the threads from the inside do not interfere, I fix them with a paper clip :)

Now you need to fill the space between the stones with rondel beads and small beads.

It turned out like this.

Now let's start working on the "rim" to the left and right of the central element. I prefer to start with a row of beads. It is more convenient for me to lay other rows from it later. To make the row even, I do not rely only on my eye, but additionally draw a line along which I will embroider.

Sew on crystal rondels.

I got 33 beads. I memorized the number of beads in order to embroider the second side of the "rim" symmetrically. For all embroidered rows, we re-pass the thread for alignment 1-2 times.

Now we lay a row of size 11 crystal beads over the beads. We embroider all the same seam "back needle". If you are afraid that the row will not turn out very even, then you can draw a line, as I did for a row of beads.

Then, under the beads, we lay a row with glass beads. Sew glass beads like beads.

It turns out something like this.

Then, over a row of crystal beads, you need to embroider a row of small pearls, but I forgot to photograph this moment - I got carried away :) After that, we sew a rondel in the corner between the central element and the "rim" so that there is no very sharp transition to the "rim". We sheathe it with small nickel-colored beads and go with the same beads to embroider the entire contour of the "rim".

We repeat the same on the other side of the necklace.

Everything, the main work is done :) Now we carefully glue the threads on the wrong side with PVA glue and cut them off.

And carefully cut out the necklace, trying not to touch the embroidery threads. It is convenient to do this with sharp nail scissors with rounded ends.

Here's what we get.

Next, we attach the necklace to the cardboard (I use thick watercolor paper) and circle only the central element. For such necklaces with a thin "rim", I deliberately do not glue this very "rim" with cardboard so that it remains soft and plastic enough. I like it better :)

We draw a line inside the contour, retreating 1-2 mm.

Cut along the inner line and glue to the necklace.

Next, glue the necklace to natural or artificial leather (I have high-quality Italian artificial leather - thin, stretches well and does not crumble on the cut). I don't really like the inside white color, so if there is even the slightest possibility in the design and color of the necklace, I make the wrong side gray. But of course, you can make it white :) Let it dry a little and carefully cut it out.

So, to create this necklace, we need:

• 
  felt or non-woven fabric for the base (of course, many people prefer felt, but recently they have finally switched to non-woven fabric, it is much more convenient to work, and it is also much easier to translate a sketch);


• 
  beaded needles (I usually use #11);


• 
  threads No. 10 of the required colors;


• 
  beads No. 10 of the required shades;


• 
  accessories (chain, rings, carabiner);


• 
  leather, suede or felt for the back of the work.

First, draw the necessary sketch. In this case, I simplified the detailing as much as possible, did not load the sketch with materials and shades in order to show exactly the basics of the work. After the sketch is drawn, it must be transferred to the fabric. If you decide to use interlining, then do not forget to glue it in two or three layers (an important plus of this material is that it is transparent, like tracing paper, that is, the sketch is translated very easily).

Little secret: non-woven fabric has a direction for gluing fibers (pull it slightly from different sides, you can easily understand), so you need to glue it transversely so that the material does not stretch.

Now you can proceed directly to the embroidery. Personally, it’s much more convenient for me to embroider on a hoop, but it’s up to everyone. The process itself is much simpler than it seems, but you need to get used to the beads, then you will easily understand how it will go to bed. Under paragraph "A" is a diagram of the main stitch for beadwork. The following shows the getting started process. Note that it is much easier to embroider the outline first. For him, I took light purple beads. I love when contours stand out.

Tulips have black stamens. But I didn't want to. To make the two black beads stand out strongly, I decided to make them gray (seen in the photo under paragraph “E”).

After that, you can begin to "paint over our tulips." By the way, you can choose a palette for colors at your discretion, especially since tulips in nature sometimes surprise you with wild combinations :)

After the tulips are ready, you can proceed to the leaves. Again, at first I embroidered the outline (the same shade of beads in my work is also the main outline). Next, we paint over the leaves. I didn’t break it into shades, but just made half of the sheet different colors. When starting work, immediately decide on the direction of the beads, as when drawing. To make your sheets look even and neat.

Now you can proceed to the second part of the necklace. For him, I mixed three shades of beads (light green with green, as on leaves and white) in equal parts (10 g each). It's a bright mix. Now we can paint :)

Everything, the most difficult thing is done. After the base is embroidered, carefully cut out the embroidery with a fabric allowance of about 1 cm and prepare a piece of leather or felt of the same size. Now we apply glue on the reverse side of the embroidery (I use the "Globe"), press the skin and leave it under pressure for a couple of hours (I have a 16 kg Soviet weight as such a press, I advise everyone :)). After the work has dried, we pull it out from under the weight and carefully cut off all the excess. Now our main in green(which did all the contours) you can start sheathing the work. There are two main stitches for sheathing, on both just great amount master classes, so I won’t go to this moment concentrate attention.

After sheathing, we take two rings with a diameter of 0.5 cm and open two chains of 10-15 cm and thread them through the topmost beads and the last link of the chain. On the other side we attach a carabiner and a ring with a diameter of 1 cm.

Everything, our necklace is ready. I tried to simplify the necklace as much as possible, but from this sketch you can create many options. Pearl and crystal beads will look great. Pearl will look like branches of lilies of the valley or gypsophila, and crystal will add shine. The only thing is to be careful. I tried to make sure that the white-green side did not clog the tulips with leaves.

I hope the master class will be useful to many. Try and experiment, you will definitely succeed!

Necklace "Winter" from Eva Spure

The necklace is beautiful and neat.

In this necklace, Eva Spoure conveys her understanding of the Russian winter. The sparkle of snow under the rays of the sun is conveyed by Swarovski crystals in a rhinestone chain, a piece of blue sky is an imitation of chipped stones on a counter, a large Swarovski crystal is the edge of the forest in the distance, a frozen river is mother of pearl, and of course snow is Swarovski pearls. They whirled in the air and connected in a round dance, forming an intricate pattern.

materials

• monofilament;
• basis for lacy's steff staff embroidery;

nacre;

a Swarovski stone in a frame;

Swarovski pearls with a diameter of 5 mm, approximately 200 pieces;

3 mm Swarovski pearls about 50 pcs;

Czech beads 10 number;

Japanese beads 11 number;

Japanese beads 15 number;

imitation of stone chipping;

two stones for braiding from Swarovski;

strass chain Swarovski 3mm;

leather or ultrasuede material for processing the wrong side;

large Japanese beads of silvery shades;

a piece of thick paper for laying;

cylindrical Japanese beads 15 number, silvery;

carabiner clasp;

• silver chain for clasp.

Process description

Stage 1: preparation.

For more convenient work, you can draw a sketch of future work, you can work out a color scheme.

We make a pattern-stand. To do this, draw a semicircle with a compass with a radius of 14 cm - this is the upper edge of the rack. We retreat 2.5 cm and draw another semicircle - the lower part of the necklace. The length of the stand is half the girth of the neck (17 cm).

Draw the ends of the pattern through the center point. Attention: I made the pattern by eye, without using any other formulas.

We cut it out on thick paper and apply it to ourselves, if everything suits us, then we can transfer it to the base, pinning it with pins and tracing the shape of the stand with a pencil.

Transfer the pattern from the sketch using tracing paper, cut it out and, pinning it with pins, transfer the outline to the base. The pattern and sketch can be left if you are asked to repeat the necklace.

Stage 2: embroidery.

If the cabochon has a flat bottom, you can pre-glue it with glue, but the mother-of-pearl had a complex convex shape, I had to grab it with a thread.

We cover the cabochon with a mosaic. We do the first row. The work is carried out with a thread folded in half. To do this, we sew with beads 10 cabochon numbers in a circle.

Attention! The number of beads in the circle must be a multiple of 2 to make a mosaic. Next, we start up several rows of mosaics, so that the cabochon is securely fixed.

We make the last row from Japanese beads number 15. We put a rhinestone ribbon around the cabochon. For reliability, I first fix it with glue, especially the open ends.

We fasten with a thread, grabbing the part without a rhinestone and tightly moving the rhinestones to each other. We sew on a rhinestone in a frame and also sheathe it with a rhinestone ribbon, then with pearls and beads according to the sketch.

I have left small stones without a rim. They had to be sheathed with mosaics. To do this, we take Japanese delica beads number 15 and round Japanese beads number 15.

The number of beads in the first circle must be a multiple of two to make a mosaic. After the stones are sheathed, I attach them to the base and sew them on. Around I sheathe with rhinestone tape.

Next, pearls according to the pattern, they are framed with Japanese beads of milky color number 11 and Czech number 10 blue color. Then fill in the rest of the parts according to the intended sketch, using beads of various sizes.

Stage 3: finishing the edge and assembling the necklace.

• Edge processing

Let's start processing embroidery. In order for the embroidery not to lose its shape and gain rigidity, to be neat from the inside, put each workpiece on a piece of thick paper and circle it.

Cut along the contour, retreating one millimeter. Otherwise, the needle will be tight to work when edging the edge.

We glue the paper to the back side, then glue the material of the wrong side (ultrasuede material works well) and cut off the edge.

The edges are trimmed with beads. I use monofilament at the same time. It is not visible, the edge is neat.

Insert the needle with the bead perpendicularly, thread the needle through the warp (thread behind the needle), place the bead in the desired position, pull the thread out from under the bead from below.

Assembly

When the edges are processed, we proceed to the assembly. To do this, first we assemble the lower part of the necklace, connect all the elements with 5 mm pearls, passing through them several times for strength.

We connect with a pearl stand, not forgetting about symmetry.

We pass through each bead several times clinging to the beads of the processed edge, grabbing the base a little.

Clasp

carabiner clasp..I connected pearls with a chain, which I attached to the edge of the necklace. She attached pearls and a carabiner to the other end.

If you place an order for a specific neck circumference, you can use any type of fastener.

But if the product is for sale or as a gift, and you do not know the neck circumference, it is better to make a stand-up necklace with an adjustable clasp length for any neck circumference.

Hello lovely ladies! Today I will share with you how to make a necklace using the "bead embroidery" technique.

We have everything ready to start work, that is:

• needles,
• kapron threads or with lavsan,
• beads,
• beads,
• scissors,
• glue moment,
• thick paper,
• leather or suede.

First, I draw the shape of our future decoration on thick paper, cut it out and redraw it on the base for embroidery. I use leatherette or felt, the color of the base should be in harmony with the palette of the intended work.

Then I stretch this base on the hoop.

First, I glued our cabochons with Moment glue

and began to sheathe it: we collect two beads per needle and carefully embroider along the stones. Then the second row: we begin to braid our stones with mosaic weaving, at the corners I added one extra bead, that is, instead of one, I took two and then weaved according to the pattern.

Thus, our bead frame will take the form of a stone, we collect the last row through one, that is, skip one cell, quietly begin to tighten the frame and fix the thread.

Then we begin to embroider: we collect two beads on the needle and stick the needle into the base, then from the inside we return back to the size of one bead and go out in the center of the stitch, we stretch the needle into the last bead and so on. We try to do this carefully so that our row is even. Alternating beads and beads in a row

After finishing work with embroidery, I remove it from the hoop and very carefully and carefully, using scissors, cut off the edge of leatherette or felt that we do not need, trying not to damage the embroidery. On the edge of the embroidery, we have no more than 1 mm. Then we take thick paper, outline the embroidery and cut off 4-5 mm less than the necklace itself (the paper is smaller than our embroidery).

Using Moment glue, glue it to the base from the inside out.

Now we circle our embroidery again, but already on leather or suede (from the inside), cut out 1 mm more than our embroidery and glue it with Moment glue

Now we will process the edge of the work: we start by sticking a needle and thread into the base of the embroidery and into the skin at the same level, then pick up 1 bead and pierce both layers (both leather and embroidery) To tighten the stitch, return the needle to the loop beads in front and so on to the end. Do not forget to insert the rings in the right places between the embroidery and the skin (this is for further fastening the jewelry), and we also sheathe them with beads.

We cling our decoration to the already prepared row of beads, put the clasp and the decoration is ready.

That's how you get such wonderful decorations
I wish you creative success!