TOHO beads are high-quality Japanese glass beads, known for their precision, uniform cylindrical shape, and large hole size. These glass beads, often called seed beads or rocailles, are manufactured in Hiroshima and make it easier to work with detailed techniques. Whether you're working with bead weaving, peyote patterns, or bead embroidery, TOHO's Japanese quality control ensures a neat, flat, and symmetrical end result.

For jewelry designers, textile artists, and hobby enthusiasts, the choice of materials is crucial for the aesthetics, durability, and structural quality of the finished piece. Within the world of glass beads – often referred to as seed beads or rocailles – there is a distinct quality hierarchy that affects how even, strong, and beautiful a pattern can become. At the top of this hierarchy, you'll find Japanese TOHO.

This guide serves as a thorough reference to TOHO seed beads. It's made for you, whether you're a beginner or have many years of experience. We'll cover the beads' history, their geometric and physical advantages, the chemistry behind the surface treatments, and the differences between TOHO, Miyuki, and Czech glass beads. The guide also includes practical knowledge about choosing needles, the tensile strength of threads, and the types of projects where TOHO's quality really comes into its own.

Seed beads, in Danish most often called "rocailles," are small, uniform glass beads used in a wide range of craft techniques – including jewelry making, bead weaving, kumihimo braiding, and bead embroidery. The English term "seed beads" refers to the beads' modest size, which resembles small plant seeds.

TOHO seed beads represent a specific and refined branch of this glass tradition. Production takes place in Hiroshima, Japan, where the company TOHO Beads was founded in 1951. The founder Iwao Yamanaka, and later Kaoru Yamanaka, established the company with a vision of bringing color and beauty back after the war years. The name "TOHO" translates to "Eastern Treasure," reflecting the dedication to quality and craftsmanship.

The manufacturing process itself is an example of Japanese engineering. TOHO melts selected raw materials into glass at high temperatures. The molten glass is drawn out into long, thin glass tubes – known as "canes." These tubes are cut into millimeter-precise pieces using advanced machinery, after which they undergo a thermal polishing process that rounds off the glass edges and creates the finished bead. Continuous innovation means that TOHO is today one of the world's largest producers of glass beads, with a range of over 10,000 varieties.

The typical sizes range from 6/0 (the largest in the standard category) to 15/0 (the smallest), giving the designer a wide range of design possibilities.

The popularity of TOHO beads rests on one crucial parameter: Japanese quality defined by a high degree of uniformity. To understand the importance of this, think of a bead-woven piece of textile or a peyote pattern.

In techniques such as peyote stitch, brick stitch, right-angle weave (RAW), or when using a bead loom, each individual bead functions as a small "brick" in a larger structure. If the beads vary by a fraction of a millimeter in width, height, or shape, the finished pattern will start to wave, twist, or appear uneven. If you work with irregular beads from lower quality classes, you'll need to constantly "cull" – an industry term for manually sorting out asymmetrical beads along the way. This is time-consuming and frustrating.

TOHO beads minimize this problem. Because each bead in a 10-gram tube has nearly the same dimensions, the same hole size, and the same finish, they slide effortlessly into complex patterns. This structural reliability means that a geometric design stays geometric, and that the lines in a woven bracelet become straight.

For beginners, the uniformity is important for the sense of success. It makes it easier to learn difficult techniques, because the material "cooperates" with the design. For the experienced designer, it means time savings and a finished product with a professional finish.

Even though several manufacturers of seed beads exist, TOHO has, through decades of research, developed a number of physical and technical characteristics that set them apart from both European and other Asian competitors. The differences are not merely cosmetic – they change how the beads interact with beading thread, needles and neighboring beads.

Larger Hole Size

The most important difference between TOHO and other bead brands is the size of the hole itself. Across all standard sizes, the hole diameter in a TOHO bead is larger than in a comparable bead from competing brands.

If you compare, for example, an 11/0 bead from Miyuki with an 11/0 from TOHO, the hole size is 0.7 mm and 0.8 mm, respectively. The difference of 0.1 mm sounds insignificant, but it has real consequences for your work:

• Room for more thread passes: In advanced bead weaving techniques (such as right-angle weave, crystal bezeling or fringe work), the needle and thread often need to pass through the same bead three, four or up to six times. A larger hole reduces the risk of the glass bead cracking and lessens the friction that can wear through the thread.
• Compatibility with thicker materials: The larger hole makes it possible to use thicker threads. It also opens up the use of materials such as fine leather cord, thick macramé cord or stiff memory wire, which would otherwise not fit through a small 11/0 bead.
• Lower weight gives better value: Because a larger portion of the bead's volume is air (the hole itself), the bead contains slightly less glass mass. TOHO beads therefore weigh less per piece than beads with smaller holes. The result is that a standard 10-gram tube of TOHO beads typically contains more beads than a tube of the same weight from a Czech manufacturer.

Uniform, Cylindrical Shape

The combination of a larger hole and standardized outer dimensions gives a bead profile that is more cylindrical and has steeper sides than the classic rounded "donut" design from other European and Asian brands.

If you place a TOHO 11/0 rocaille next to other brands under magnification, you will see that the TOHO bead has slightly flatter outer sides and a bit more height (1.5 mm compared to, for example, Miyuki's 1.36 mm). The tube-shaped profile means that the beads lock together more tightly when sewn side by side. In weaving techniques and peyote stitch, the shape creates an almost fabric-like and smooth "bead textile", where the gaps (and the visibility of the beading thread) are minimized.

Strict Quality Control and Mechanical Precision

TOHO uses modern, computer-controlled machines for cutting and optically sorting their glass canes. The thermal polishing process is monitored with sensors to ensure that the surface becomes smooth and comfortable against the skin, without weakening or deforming the glass walls – which are precisely thin due to the large hole diameter. It is this Japanese quality control that consistently delivers predictable results.

Read our guide to Miyuki beads here as well

When you navigate the bead market, you will often need to compare the three major manufacturers: TOHO (Japan), Miyuki (Japan) and Preciosa (Czech Republic). A question we often get is: "What is the difference between TOHO and Miyuki, and are they really better than cheaper beads?" The choice depends on the specific project's requirements for shape, budget and expression.

Czech Beads (Preciosa)

Czech seed beads represent the old European glass tradition from Bohemia. They have a distinctly round "donut" shape with a relatively small hole. They are typically cheaper than the Japanese beads and are often sold on long strands (hanks) rather than loose in tubes.

• Structural properties: Less uniform. You will experience varying widths and thicknesses within the same batch and color. The hole is smaller, which limits thread passages.
• Ideal applications: Classic bead necklaces strung on wire (stringing), traditional Native American handicraft, "freeform" embroidery and projects where a bohemian-inspired look is the goal. If you use them for flat, geometric weaving (like peyote), it will require a lot of sorting to avoid crooked patterns.

Miyuki Beads

Miyuki was founded in 1949 and is Japan's oldest manufacturer of seed beads. The Miyuki brand as we know it today was officially established in 1974. They are considered TOHO's primary competitor. Miyuki's round beads are slightly shorter in height and more rounded at the edges than TOHO's, giving the finished work a softer look. They are very uniform in size.

• Structural properties: High precision. Smaller hole than TOHO (0.7 mm in size 11/0) and more rounded edges on the round beads. Their tube-shaped specialty series, Miyuki Delica, is considered the industry standard for flat, pixelated patterns.
• Ideal applications: Detailed flat patterns, peyote stitch and brick stitch, where mathematical symmetry and a smooth surface are important.

TOHO Beads

TOHO positions itself as the most flexible of the Japanese beads. The slightly greater height and the steeper, more cylindrical sides combined with the large hole make them a great hybrid between aesthetics and functionality.

• Structural properties: Larger hole (0.8 mm in standard 11/0), which makes them more flexible to work with. Slightly more tube-shaped profile than Miyuki's round beads. At a microscopic level, in some opaque colors they can appear slightly more irregular in height than Miyuki, but they are quality-wise superior to Czech and Chinese beads.
• Ideal applications: Bead weaving with many thread passages, bead embroidery on leather and textile, three-dimensional and complex stitches (such as Cellini spiral or Russian Spiral), as well as projects where the combination of precision and strength (through the use of thicker thread) is important.

Czech prices are typical retail prices at European retailers. The data in the table are general industry averages based on technical measurements.

Here is an interesting point: Even though TOHO is sold in larger bags (10 grams versus Miyuki's 4 grams), the price per gram is actually markedly lower at Uniq Perler – you get more than twice as many beads for your money compared to Miyuki. Combined with the advantage that TOHO has the largest hole and thus more beads per gram due to air volume, TOHO is a particularly attractive choice if you make larger projects or work with techniques that require many beads.

The conclusion is clear: All three brands produce high-quality materials, but they serve different technical needs. Czech beads win on pure price per kilo, Miyuki wins on surface uniformity in the round beads, and TOHO wins on technical flexibility, thread capacity, innovation in formats – and in Uniq Perler's range also on price per gram.

The sizing system for seed beads – internationally known as the "Aught" system – has historical roots and can seem illogical to beginners. Why is a size 15 smaller than a size 6? The rule of thumb is: The higher the number, the smaller the bead.

Historically, the number stems from the older production method and refers to how many beads of a given size could be placed side by side within an inch (2.54 cm). An 11/0 bead would, in theory, fill one inch if 11 of them were placed in a row. Although modern manufacturing techniques have slightly adjusted bead dimensions, and the rule of thumb no longer fits perfectly, the nomenclature has been retained as an industry standard.

Here's an insight into the most common TOHO sizes:

15/0 (the ultra-fine micro bead)

• Physical size: Approximately 1.5 mm in outer diameter.
• Hole size: Approximately 0.4-0.6 mm depending on finish.
• Count per gram: Approximately 250-290 beads per gram.
• Characteristics: Very small beads that require patience and specialized thin needles (size 12, 13, or 15) and fine beading thread. Due to TOHO's large-hole philosophy, their 15/0 beads have a more tubular geometry than Miyuki's rounder 15/0, which affects how they drape in fine designs.
• Use: Ideal for delicate and intricate design details, filling small gaps in textile embroidery, picot edges, and crystal settings (bezeling Rivoli crystals), where the bead needs to draw tightly around the stone.

11/0 (the universal standard)

• Physical size: Approximately 2.2 mm in outer diameter.
• Hole size: Approximately 0.7-0.8 mm.
• Count per gram: Approximately 110-120 beads per gram.
• Characteristics: The most popular and universal size across beading projects. 11/0 is the standard bead for almost all published patterns in magazines and books. The hole in a TOHO 11/0 is large enough to let a needle and thicker thread pass through multiple times without resistance, while the bead is still small enough for detailed patterns.
• Use: Everything from peyote bracelets and necklaces to woven geometric pieces.

8/0 (the larger, tactile detail)

• Physical size: Approximately 3.0 mm in outer diameter.
• Hole size: Approximately 0.9-1.2 mm.
• Count per gram: Approximately 35-40 beads per gram.
• Characteristics: A good tactile size. For beginners who haven't yet developed the fine motor skills to handle the small 11/0 or 15/0 beads, 8/0 is a good entry point into beading.
• Use: Often used as a base structure in complex twists, as edge stitching on leather, in coarser macramé knotting, cord jewelry, leather bracelets, or in knitting and crochet projects with thinner yarn, where the large 1.2 mm hole allows the yarn to pass through without damaging the fibers.

6/0 (the sturdy base and spacer)

• Physical size: Approximately 4.0 mm in outer diameter.
• Hole size: Approximately 1.1-1.5 mm.
• Count per gram: Approximately 15-18 beads per gram.
• Characteristics: Large, voluminous beads that are ideal for projects requiring visual weight and physical substance.
• Use: Used for knitting with thicker wool yarn (DK weight), incorporated into kumihimo braiding, paracord projects, and as decorative spacers between larger semi-precious stones or crystals in chunky statement necklaces.

The number of beads per gram will in practice vary slightly based on finish. Heavy metallic coatings (such as galvanized gold) and opaque colors weigh a bit more than light, transparent colors.

Seed beads are used for detailed designs and patterns because of their modularity. They function like pixels on a screen. The precision of TOHO beads and their enlarged holes open up a range of specialized applications that place high demands on the material's performance and durability.

Jewelry Design (Bracelets, Earrings and Necklaces)

For jewelry making – such as fringe earrings, thick beaded ropes like Cellini Spiral or Russian Spiral, and 3D flower and star motifs – TOHO beads are well suited. Their uniformity ensures that the threads can be pulled tight without deforming the pattern under tension. This is important for a wide, woven bracelet to lie flat and comfortably on the wrist, or for an earring fringe to fall evenly.

Advanced Bead Weaving

Bead weaving on a bead loom is a technique that requires regular beads. If the beads vary slightly in width, the horizontal rows will start to bow up and down, and the finished bracelet will look unprofessional. TOHO's cylindrical series (Aiko and Treasures) are developed for exactly this discipline. Here, the flat cylinders lie side by side like microscopic bathroom tiles, forming a glass "fabric" with an almost silky texture. The round 11/0 beads also work well on the loom, but they give a bit more texture to the surface due to their profile.

Bead Embroidery

Embroidering small beads directly onto textiles (such as designer bags, jackets or stiff bases for setting cabochon stones) is an area where TOHO truly excels. In embroidery, the beads must be sewn onto an often stubborn base (such as Ultrasuede, felt or leather), and to secure the work, a locking thread is often pulled back through the same row of beads several times. TOHO's enlarged hole allows the use of thicker needles and repeated thread passes without the glass wall cracking.

DIY Projects and Mixed Media

Combining TOHO's larger sizes (mainly 8/0 and 6/0) with knitting and crochet is popular, because the bead's large hole size allows thinner wool or cotton yarn to be pulled through without the yarn fraying or getting stuck. In addition, they work well in knotting techniques like macramé and in home decoration (such as Christmas ornaments and Easter eggs), where they contribute color texture, reflection and weight to the finished design.

When you venture into TOHO's range, you quickly discover that "a bead" is not just "a bead". The choice of the right bead should be based on three factors: the physical shape (Shape), the glass type and color (Color), and the surface treatment (Finish). Each of these elements affects both the working process and the durability of the finished project.

Breakdown by shape (Shape and structure)

• Round (Rocaille): The classic, slightly round and plump bead shape. It's the workhorse for most beading techniques, embroidery, and stringing.
• Cylindrical beads (Treasure & Aiko): TOHO Treasures are cylinder beads (comparable to Miyuki Delica, though with a slightly larger diameter), which provide a smooth and even surface, perfect for flat weaving. Their flagship, TOHO Aiko, is regarded as "the perfect cylinder bead". Aiko beads are the result of machine-cut precision. They are locally certified as a masterpiece of craftsmanship (under the "Hiroshima Brand" label). They are designed with one purpose: to deliver flawless woven surfaces without requiring "culling" (manual sorting) before work.
• Takumi LH (Large Hole): A newer innovation from TOHO. Here, a bead with the same outer dimensions as the classic 11/0 round has been given an expanded inner hole, making it 15% larger (0.9 mm instead of 0.8 mm). This creates design possibilities for pulling thick leather cords or fabric threads through small, elegant beads, giving the finished piece rigidity and strength.
• Demi Round: Thinner, disc-like versions of the round beads. They retain the same outer diameter and large hole as an 11/0, but physically make up only a fraction of the height. They work well as elegant "spacers" between other materials and can create complex and textured layers in the piece of jewelry.
• RE:Glass: An eco-friendly innovation. RE:Glass beads are made from recycled glass bottles. They retain TOHO's machine precision, but due to the source material, they have a more muted, matte, organic, and "sea-glass" appearance, which suits nautical and bohemian-inspired designs.

Breakdown by glass and color (Color)

The chemistry of the glass body itself determines the bead's fundamental color profile and light transmission, independent of what it is subsequently coated with in terms of lacquer or metal.

• Opaque: Solid, fully colored glass with no light penetration. Gives strong, distinct color surfaces, such as solid red, glossy black, or chalk white. These beads often weigh slightly more than transparent beads, which is important to remember in material calculations.
• Transparent: Light can pass through the glass. This creates a light, vibrant, and jewel-colored effect that beautifully catches and refracts light, especially in sunlight.
• Color-Lined / Silver-Lined: A combination. A transparent or lightly tinted outer glass is combined with an inside (the core of the hole itself) that is strongly colored or lined with silver or 24k gold foil. This reflects light from the inside out, creating a "glowing" or sparkling 3D effect from within the bead's interior.

Breakdown by finish (surface treatment and durability)

The outer surface treatment affects how light is refracted in the piece of jewelry and how resistant the bead is over time when in contact with skin and environment.

• Matte (frosted): Here, the outer glass is chemically etched or mechanically ground. This removes the glass shine and leaves a soft, almost velvety surface. Matte finish is popular in modern, subdued Scandinavian designs, and since the color is in the glass itself and not a coating, there is no risk of it flaking off or losing color.
• Luster: A permanent, transparent surface shine, often with an added pearlescent sheen, baked onto the outside of the glass. This makes the bead appear constantly moist, shiny, or slightly metallic.
• Metallic & Galvanized (the important distinction): Highly metallic finishes are almost always applied on top of the glass bead itself through an electro-chemical galvanizing process. The classic challenge with regular galvanized beads (both for standard TOHO and standard Miyuki) has been that friction from clothing, reaction with the skin's natural pH value (sweat), as well as contact with perfume and lotion can cause the gold, silver, or copper color to wear off, leaving a dull glass bead.

To solve this problem for jewelry designers, TOHO created their PermaFinish (PF) (Miyuki calls their equivalent lacquer Duracoat). PermaFinish is a strong and invisible lacquering and sealing applied over the galvanized surfaces, which increases durability and minimizes rub-off. For jewelry that will be worn directly against the skin and experience daily friction (such as rings and tight bracelets), it is recommended to invest in the PF series if you want a metallic color that lasts for many years.

Buying the right beads is only half the process behind a successful jewelry project. The tools and techniques the beads are combined with are also important for success and enjoyment of the work. An understanding of the interplay between thread, needles, and the glass bead's geometry is essential for any designer.

Use thin, precise needles

The needle is your most important tool. It must not only be able to pass through the bead's hole – it often has to do so together with several layers of thread without jamming or splintering the glass.

For TOHO 11/0 beads, it is recommended to use specific "beading needles" in size 10, 11 or 12. Quality brands such as Japanese Tulip needles or BeadSmith Speedle needles are recommended. They are able to bend and adapt to tight passages without breaking, and their needle eye stays intact even under pressure from the thread.

For the very small TOHO 15/0 beads, where the hole diameter in some cases approaches 0.5 mm, it is important to use an ultra-thin needle, typically in size 12, 13, or down to size 15. This prevents the glass wall from being subjected to internal pressure and bursting during work. Twisted wire needles (needles that can open in the middle) can be used to thread thicker leather cords or elastic, but these needles deform quickly and are not suitable for finer, repeated, and tight weaving.

Use quality thread

The jewelry's lifespan is rarely longer than the thread it is sewn with. Different thread types interact differently with the glass edges inside the bead.

• TOHO One-G: This nylon thread is developed by TOHO to work optimally together with their own glass beads. It resembles the classic Nymo (size B) in thickness and profile, but the One-G thread is coated with a surface treatment (an anti-tangle agent) that prevents it from tangling, knotting, or fraying during repeated pulls through the beads. It falls softly and is ideal for moving elements like fringes and weaving, where you want "drape" (a soft, fabric-like fall).
• Miyuki Beading Thread / KO thread: Also high-quality nylon threads that behave similarly to TOHO One-G. They are lightly pre-waxed, resistant to surface fraying, and suitable for flat peyote stitch, where the thread must not take up too much space.
• Fireline / Wildfire: Unlike nylon, these threads are braided and heat-treated polyethylene (originally developed as a durable fishing line), and they are among the strongest options on the market. The primary advantage is that they do not stretch at all (zero stretch) and cannot be cut by any sharp bead edges (which you may encounter on the inside of cheaper Asian beads or crystals). Fireline is more expensive per meter than regular nylon thread and is stiffer. It is typically used for projects that require structural rigidity (such as boxes sewn in peyote or bezeling large stones), but it is not recommended for long earring fringes, as the thread lacks nylon's natural softness and elasticity. A variant like 6LB (pound) Fireline is the most popular on the market; it is thin enough to pass through a TOHO hole multiple times, but hard to break with your bare hands.

Sort beads (if necessary)

Although TOHO represents a high industrial standard, it is still recommended for most of their product lines (with the exception of the precise Aiko series) to perform a quick "culling" during the beadwork itself. This is done by pouring the beads out onto a soft surface (for example a "bead mat", which prevents them from rolling away) and discarding the few beads that appear asymmetrical, too narrow, or unusually short/long. This small step takes seconds, but it ensures flat weaving and prevents you from later having to cut the work open due to a single bad bead in the middle of the design.

Storage

Proper organization and storage is the key to a good working environment. It is important that you store the Japanese seed beads separately from other brands. Due to the size difference between TOHO (where 11/0 is approximately 2.2 mm and has a large hole) and Miyuki (where 11/0 is approximately 2.0 mm and has a slightly smaller hole), unknowingly mixing these in the same pattern row can ruin the proportions in an otherwise complex design.

You should store them in their original plastic tubes, or clearly label your own sorting boxes with brand, size, surface type (for example PermaFinish), and the unique color code, so the same bead can easily be repurchased when you run out. In addition, closed, dark storage in tubes protects against moisture and oxidation, which can affect unprotected, cheap galvanized coatings if left out in the open.

When materials are evaluated in the hobby and craft world, the real cost isn't measured only by the initial price per kilo of glass, but by the long-term value. Czech or Chinese mass-produced, uneven beads are cheaper to purchase per gram. But the hidden cost arises in the work process itself and the lifespan of the jewelry piece.

A jewelry project – such as a fully woven bracelet or a beaded collar – can take ten, twenty, or up to fifty hours to make by hand. If you use irregular, uneven beads for such a project, part of these hours will be spent sorting out misshapen beads ("culling") – and despite the effort, the end result will in many cases still turn out crooked and uneven. Worse still is when the plated gold or silver color on a piece of cheap glasswork fades, oxidizes, or flakes off after just two wearings against the skin. When that happens, the entire time investment is lost.

TOHO seed beads are an investment in the craft itself. The larger hole means there is less glass per bead. The lower volume results in you getting more beads per gram purchased compared to the heavier, small-holed beads from competing manufacturers. The Japanese consistency respects the designer's time by enabling fast progress in the pattern, and TOHO's PermaFinish line ensures that the metallic colors survive everyday wear and sunlight for many years.

At Uniq Perler, TOHO beads are also very competitively priced. A 10-gram bag starts from 18 kr, which corresponds to approx. 1.80 kr/gram – significantly cheaper per gram than Miyuki Rocailles, even though both are Japanese premium beads. This makes TOHO an obvious choice, both when you're learning the techniques as a beginner and when you need to produce larger projects without the budget running away.

Conclusion

TOHO seed beads stand as an important name within global glass manufacturing and modern jewelry design. The precision-cut Japanese glass beads bridge the gap between centuries-old glass traditions and modern mechanical technology, meeting both the initial needs of the beginner and the more advanced requirements of professional jewelry making.

Their signature feature – the enlarged hole size – creates a more versatile and time-saving working experience, where thicker thread and repeated needle passes are accepted without crushed beads. This detail also changes the bead's outer profile to be slightly more tube-shaped and cylindrical, providing precision in flat weaving and stitching techniques. Whether you use the voluminous 6/0 beads for yarn and knitting projects, the universal 11/0 for classic jewelry, or the precise Aiko beads for textile-like pixel art and weaving, TOHO is a guarantee brand for consistency.

They are a good choice for beginners who need a forgiving material to learn the basic techniques without frustration, as well as for the experienced designer who demands durability through, for example, the PermaFinish series. Switching from uneven discount beads to a quality product like TOHO is often the most important step a dedicated designer can take to elevate their work from a leisure hobby to a lasting piece of craftsmanship.

To start your next beading project and take advantage of all these benefits, you can explore our TOHO range here on the site. By choosing the right beads, you lay the foundation for a piece of jewelry that lasts for many years.