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After admiring in the specialty shops the sweaters beautifully monogrammed with beads, I decided to see what I could do, so I purchased an Orlon sweater (I didn't want to experiment on an expensive cashmere). I had no idea I was practically falling into a hobby that would bring me pleasure and profit.

I bought a monogram pattern but did not stamp the initials on the sweater. Instead, using tissue paper, I traced the two or three letters I wanted to use and by trying them in the various positions, found the most effective way to place them on the sweater. Some letters are more symmetrical when combined in a particular order than in another, which determines the placement of the monogram.

On the left-hand side of the sweater (button side), allowing a one-inch margin along the facing, and on a line approximately three inches from the center neckline, I pinned the tissue pattern on the outside of the sweater, and a backing—or lining—on the underneath side. The lining can be rayon taffeta of the same shade as the sweater, or a very light weight pellon—obtainable in most piece goods departments. The purpose of the lining is to keep the sweater smooth and unpuckered.

Using contrasting sewing cotton and a fine needle, I sewed the tissue pattern and the lining to the sweater by working along the stamped lines with a running stitch. Then I carefully tore away the tissue pattern and the monogram formed by the running stitch lines was ready for beading.

My experimental sweater was yellow, so I purchased gold bugle beads of a medium length and seed beads of brown cut steel. First of all, the letter is filled in with the bugle beads, one vertical line at a time, care being used to keep the beads running in the same direction. They should not be crowded. The letter may then be outlined in the seed beads, keeping a straight line. It is effective to use the seed bead on one side of the letter only, giving a shadow effect, and if there are curlicues in the monogram, these, too, are outlined in the seed bead.

When the beading is completed, the basting thread is pulled out and the excess backing, or lining is cut away, extreme care being used so as not to cut the sweater. It is not necessary to cut away the lining from the center of the letters.

MY INITIAL venture into the business of sweater beading in Tulsa, Oklahoma, where I live, occurred in a very easy and "painless" way. While shopping in one of the local stores one day, one of my friends told a clerk about my monograms and she asked that I bring in a sample of my work, if I would be interested in beading for customers. I was pleased to have the opportunity not only because of the extra income it would provide, but because beading is relaxing for one doing secretarial work all day long.

My arrangement with the shop came under the heading of "customer service"—they sold the sweater, I did the monogram. Sometimes I deal with the customer direct, sometimes the saleslady takes the order. The former method is more desirable since the customer will have the opportunity to see the different types of monograms and discuss the colors and combinations of beads that would be suitable or harmonious.

Usually, the most difficult chore is that of marketing one's product, since all of us are not born salesmen. However, I have found the buyers to be very courteous and there appears to be a genuine respect for handicraft.

My first order was to monogram a white cashmere sweater that had cost approximately $30. I had no idea what to charge, so took the clerk's advice and made the charge commensurate with that of the sweater—$18 for three initials. At this price I furnish the beads and the pattern. It was just my luck that this first customer wanted a very simple monogram-block letters, but large. The sweater was to be a gift for his wife, who liked tailored clothes. Using a ruler, I was able to draft a pattern and apparently it was satisfactory; but this gentleman has been the only customer not wanting scrolls or curlicues on the monogram. After all, when a person invests in a monogrammed cashmere sweater, he wants something showy—but not gaudy. On this white sweater I used silver-lined bugle beads with silver cut steel seed beads.

To obtain monograms that are more unusual and offer some variety, I contacted the monogram department of a department store which will supply a pattern to order for $1. I absorb this cost.

SOME OF the color combinations I have used are chalk-white beads on gray sweaters for summer wear, but for year-'round wear the white satin beads are best, combined with small seed or oat pearls. On beige sweaters there is usually a shade that will show more life than another—amber, gold, bronze. It is very effective to try to match the sweater in choosing the beads—blue on blue—to achieve a monotone effect.

One of my customers was a young man attending Harvard who wanted to give his girl friend a monogrammed sweater for Christmas. He described her coloring and size and asked that I select the sweater. Since she is a brunette, my choice was a pale blue cashmere on which I used white satin bugle beads and cut steel seed beads in silver. When school was out in June, Bill stopped at my office to introduce his friend, who was now wearing an engagement ring. One would have thought I had really played Cupid when she bubblingly told me she knew he was serious when she opened her Christmas present.

After the contact with the first shop I visited one where I am known and made the same arrangement with them; that is, when the customer wants a monogram, they call me and we get together. I continue to charge $18 for three initials but occasionally do two initials for less. All my monogramming for customers has been done on cashmere sweaters; however, the price would be the same regardless of sweater material.