Beading is a richly detailed craft with a vast vocabulary, developed over decades of evolving techniques, global material sourcing, and the growing need for standardized communication in patterns, tutorials, and educational materials. For beginners and experienced artisans alike, becoming familiar with the common abbreviations and terminology used in beading is essential for interpreting instructions accurately and communicating effectively with other beaders. These terms not only describe tools and techniques but also refer to bead shapes, sizes, finishes, thread paths, and stitching sequences. They form the backbone of written and spoken beading language and are fundamental to navigating the wide variety of resources available both online and in print.
At the most basic level, bead sizes and types are often abbreviated to save space in patterns and supply lists. For example, “11/0” refers to size 11 seed beads, a standard designation indicating the number of beads that fit in an inch lined up side by side. The “0” or “aught” system is commonly used for Japanese and Czech seed beads, and size abbreviations such as “8/0” or “15/0” are universally understood to denote increasingly larger or smaller beads, respectively. In patterns, one might see this shortened further, such as “R11” or “S8,” indicating round 11/0 seed beads or size 8 seed beads, with the shape and size inferred from the context. Cylindrical beads like Miyuki Delicas may be labeled “D11” to distinguish them from round seed beads of the same size.
Stitching instructions are often packed with abbreviations for efficiency. For example, “st” or “sts” stands for stitch or stitches, while “rep” means repeat. The abbreviation “inc” is used for increase and “dec” for decrease, both common in flat and tubular bead weaving. Thread path instructions might say “pass through the next bead (ptnb),” or “exit bead A” to indicate the point where the working thread should emerge before continuing the next step. “Pick up” is frequently abbreviated as “PU” or “p/u,” followed by a list of beads, such as “PU 3R11, 1B11,” meaning pick up three red 11/0s and one blue 11/0. In more advanced patterns, this might be followed by an instruction like “stitch in peyote,” with the expectation that the reader understands how to apply that stitch based on prior knowledge or diagram references.
Common stitch techniques themselves are often referred to by acronyms or shorthand. “Herringbone stitch” is often written as “HBS” or simply “herringbone,” with instructions referencing “increasing in HBS” or “starting a new row in flat HBS.” “Peyote stitch,” one of the most widely used techniques, may be abbreviated as “PS,” and further described by type, such as “flat even-count peyote” or “tubular odd-count peyote.” “RAW” stands for right-angle weave, a stitch built from units of four beads arranged in square formations, while “CRAW” refers to cubic right-angle weave, a three-dimensional variation. “Ndebele” is another term often used interchangeably with herringbone in beading literature, referencing the stitch’s origins and visual characteristics.
Beading threads and tools also come with their own terminology. Brand names like “FireLine” or “WildFire” may be shortened in supply lists to “FL” or “WF,” followed by the strength or diameter, such as “FL 6lb” or “WF .006.” Thread types like “Nymo,” “KO,” or “C-Lon” are often listed without further abbreviation, as they are widely recognized by their product names. Beading needles are typically noted by size, with “size 10” or “sz 10” being common shorthand. “Beading wire” is sometimes shortened to “BW,” while “memory wire,” a stiff coil wire used for bracelets, may appear simply as “MW.”
Bead finishes and shapes are also described using abbreviated or standardized terminology. For instance, “AB” refers to aurora borealis, a light-reflective finish that gives beads an iridescent sheen. “SL” means silver-lined, where a bead’s core is coated with a metallic silver layer to enhance reflectivity. “MAT” or “matte” indicates a non-glossy surface, while “TR” stands for transparent and “OP” for opaque. Color names may be combined with finish codes, such as “MAT OP LT BLU,” meaning matte opaque light blue. In catalog listings and supply kits, these codes allow for compact descriptions that still provide precise information about the bead’s appearance.
In addition to physical descriptors, terminology often includes references to beadwork techniques. For example, “stitch in the ditch” refers to placing a new bead directly into the gap between existing rows, often used in peyote or brick stitch edging. “Bridging” is the act of spanning two or more beads with a single bead or sequence, often seen in fringe and netting. “Turnaround” refers to changing direction in a stitch path, particularly in flat even-count peyote or when completing rows in brick stitch. “Zipping up” is the technique of joining two edges of beadwork by passing the thread alternately through beads on both sides, much like closing a zipper.
Patterns also rely heavily on consistent directional language. Terms like “exit bead,” “working thread,” and “tail thread” are used to orient the beader within the pattern. “Step-up” refers to the maneuver that brings the working thread into position to begin a new round or row, especially in circular or tubular work. “Bridge thread” or “thread bridge” indicates the span of thread between two beads, often used in stitches like netting or for embellishment attachment points.
Even tools like pliers have shorthand, with “RN” referring to round-nose pliers, “CN” for chain-nose, and “FL” for flat-nose. “Crimper” is usually spelled out, though some abbreviate it to “CR” in kit lists. Findings, such as “lobster clasp” or “toggle clasp,” are often listed as “LC” or “TC,” respectively. Jump rings may appear as “JR,” with an accompanying size in millimeters, such as “JR 5mm.” Crimp beads or tubes are usually written as “crimp” or “CB,” and spacers as “SP.”
Understanding common beading abbreviations and terminology is more than just a matter of efficiency; it is a necessary foundation for clear communication and successful execution of designs. These terms allow beaders to interpret patterns correctly, source supplies with precision, and participate in a global community that shares techniques, innovations, and inspiration. As the craft continues to evolve, so does its language, but the core vocabulary remains rooted in a standardized, practical system that supports both creativity and clarity. Whether reading a printed pattern, watching a tutorial, or discussing techniques in a forum, a strong grasp of beading terminology ensures that makers at all levels can navigate the intricate world of beads with confidence and fluency.