Celie Fago, Ellen Marshall, Livia McRee, Georgia Sargeant, Dinko Tilov Polymer Clay Art Projects and Techniques For Jewelry, Gifts, Figures, and Decorative Surfaces 2007 PDF
Celie Fago, Ellen Marshall, Livia McRee, Georgia Sargeant, Dinko Tilov Polymer Clay Art Projects and Techniques For Jewelry, Gifts, Figures, and Decorative Surfaces 2007 PDF
Celie Fago, Ellen Marshall, Livia McRee, Georgia Sargeant, Dinko Tilov Polymer Clay Art Projects and Techniques For Jewelry, Gifts, Figures, and Decorative Surfaces 2007 PDF
1/9/07
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his special collection of projects culled from Quarrys most popular books about polymer clay
offers a spectrum of inspired ideas and techniques for polymer clay enthusiasts with all levels
of experience. Learn from some of the most talented artists in the field how to make every-
INCLUDED ARE :
Projects ranging from inspired gifts and clay
figures to unique jewelry and beads
processes
Crafts
$25.00 US
16.99 UK
$29.95 CAN
Celie Fago, Ellen Marshall, Livia McRee, Georgia Sargeant, and Dinko Tilov
EAN
UPC
P
O
L
Y
M
E
R
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Y
A
R
T
www.quarrybooks.com
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Printed in China
1/22/07
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by Celie Fago, Ellen Marshall, Livia McRee, Georgia Sargeant, and Dinko Tilov
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Contents
7
10
28
102
116
134
158
170
196
270
Gallery
301
Contributing Artists/Resources
304
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Polymer clay is solid colorcolor you can knead, twist, pull, mold,
layer, and cut. You can make it look like ancient amber, glowing
glass, engraved ivory, or modern steel. You can use it to make deli-
tained before. In one section of this book, eleven artists will in-
or stretch it out to airy thinness. You can layer it with metal leaf,
ages on to it, or tint the surface with paint and colored pencil. It is
clay. In yet another, Dinkov Tilov will show you how to create
home oven, so expensive studio space and fiery kilns are not
boxes, and bowls; it has been turned into mosaics, plaques, wall
to those who have been creating with it for a while and are ready
other arts and industries and use them in your own creations. In
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Polymer Clay
Basic Techniques
Polymer clay is a brilliantly colored modern modeling
material that bakes hard in a home oven. Its star feature
is its compatibility with other art and craft materials,
from acrylic paints to glues to glitter to metal leafing to
rubber-stamping supplies. With polymer clay, sturdy and
colorful three-dimensional art is within everyones reach.
Its widely available in art and craft stores.
The basic ingredient of polymer clay is polyvinyl
chloride (PVC), the same sturdy stuff that water pipes
are made of. The other ingredients are inert fillers to
give it bulk (and sometimes texture), dyes and pigments to give it color, and a plasticizeran oily chemical that allows the microscopic
chains of PVC molecules to slide over each other at room temperature but lock onto each
other when the clay is heated.
This clay, also known to its fans as polyclay and PC, comes in many of the colors
you find on the artists paint racknot only in standard colors like red, white, and brown,
but also in flesh tones (developed for doll making) and in translucent clays that are milky
when raw but almost clear when baked properly (and in a thin enough layer, theyre absolutely transparent). With many brands, you can mix the package colors and get attractive
intermediate shades.
Manufacturers also make some wonderful specialty clays. There are pearlescent and
metallic colors incorporating tiny mica flakes that give a shimmery luster. There are fluorescent colors using brilliant pigments; a dab added to a dull color will perk it up. There are
glow-in-the-dark colors that shine at night. There are glitter claystinted translucent clays
with heat-resistant microfine glitter mixed in. There are clays that contain short colored
fibers that make them look like stone. You can even make your own stone clays by mixing
embossing powder from the rubber-stamp counter into translucent clay. Or you can mix in
other grains or powders, from coffee grounds to aromatic herbs to iridescent pigments to
childrens tinted play sand.
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Please note: None of this specificity should discourage you from substituting similar products that are easier to find or that you may already have. You may discover that your results are exactly the same, or you may find completely unexpected
results that make you just as happy. We have tried to design this book so that the
information provided, based on the authors extensive experience and testing, is
as detailed and as helpful as we can make it, but we also encourage you to conduct your own experimentation and to not feel limited by the suggested products
in any way.
A majority of the materials used in this book are available internationally or can be
easily ordered on the Internet. A resources section is included for your reference
on page 301.
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Chapter 1
Getting Started
A Guide to Using This Book
I hope you find this book inspiring and informative whether you are familiar with polymer clay or not.
If you are already acquainted with surface design from the paper or textile arts, I hope you will see
surface techniques in a new light. One goal of this book is to illustrate how anyone interested in surface design, regardless of their experience, can develop or expand their repertoire of surface treatments by using artist media in different ways and by combining surface and polymer clay techniques.
Stamps can be used to apply images or texture. Paints and inks can be used in silk-screening, monoprinting, or masking. Acrylic media can be used to create faux suede, raku, or paste paper surfaces.
The other goal of this book is to spark ideas for using surface design. There are a number of creative
designs in the project and gallery sections of this book. From a simple card (page 84) to an elaborate
necklace with beaded fringe (page 88), youll find a variety of ways to use decorated clay in creating
mixed-media pieces of art.
Polymer clay is our foundation material, so we begin this chapter with an overview of the material
and methods for working with it. To create successful surface designs, it is important to become
familiar with the properties of different media and how they interact with clay. Information about
how particular materials, such as paints, inks, and acrylic media, work on clay is given in the technique
and project instructions.
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It is difficult to provide blanket rules about how artist materials work on clay. For example, acrylic
paints and inks generally dry on raw or unbaked clay and bond permanently to clay when baked. But
not all acrylic paints and inks dry completely on raw clay; some remain a little tacky. There is a variation in how products perform because manufacturers use different formulations. This is actually a
welcome fact. It is precisely because of the differences in how materials work with clay that result in
not only the surface techniques youll find in this book, but also the techniques you may discover as
you try various ideas. Note, too, that new products are being introduced to the market constantly,
which offer the opportunity to create new techniques or apply current ones in different ways.
In my favorite section, Surface Technique Intensives (page 60), I invite you to use your surface-design
knowledge and work with abandon. Mix materials! Mix techniques! Do the unthinkablecut up that
breathtaking decorated sheet youve just made! Youll appreciate how working in this way can fuel
your creativity.
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to glues to glitter to metal leafing to rubberstamping supplies. With polymer clay widely
everyones reach.
play sand.
create joyously!
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your favorites.
tolerant glitter.
G E T T I N G S TA R T E D
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G E T T I N G S TA R T E D
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Oven thermometer To properly cure polymer clay, youll need a thermometer to check
and calibrate your ovens temperature.
Rubbing alcohol Tools and surfaces can be
Intermediate Kit
at auto-supply stores.
personalized kit.
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D
L
K
E
J
B
A metallic leaf
B cookie and hors douevres cutters
C pasta machine (durable Italian
model)
D deep-cut rubber stamps
G E T T I N G S TA R T E D
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conditioning.
surface, because the plasticizer will mar the surface. Instead, store the clay in the original pack-
Leaching
Baking
Softening
All clay becomes firmer over time, as polymerization slowly advances. Some clays are inherently
stiffer than others. Two proprietary softeners
translucent clays may brown at this temperature, so first bake a test tile the same thickness
as your project.
combination.
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Cleaning Up
down their machines with baby wipes or rubbing alcohol on a paper towel.
Choosing Glue
PVA-Based White Craft Glues
to the clay.
Cyanoacrylate Glue
to cool slowly to room temperature. But translucent clay benefits from being dropped into ice
Safety Tip: Bake polymer clay with the best ventilation you can manage. Turn on a fan and open
the windows.
G E T T I N G S TA R T E D
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Basic Techniques
Making Sheets
All the surface techniques in this book require
that you make polymer clay sheets. The easiest
way to control this is to pinch and pull your
conditioned clay into a rough rectangle about
the thickness of a dinner plate, then roll it
Setting
Inches
Millimeters
1
8
"
3.2 mm
7
64
"
2.8 mm
3
32 "
2.4 mm
5
64
"
2.0 mm
1 "
16
1.6 mm
1 "
32
0.8 mm
1
40 "
0.6 mm
Millefiori (Canework)
One of the most popular polymer clay techniques comes from the clays ability to stretch
evenly and smoothly. It shares this quality, tech-
roller on top of the rod and roll out the clay that
is positioned between them. You can get clay
sheets that vary in thickness by varying the
thickness of the rods. Then roll your clay out
even with the rods.
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a jellyroll cane.
through fold side first. By the time you have finished, youll have a smooth color blend with one
G E T T I N G S TA R T E D
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Metallic Effects
Mokum Gan
little plates.
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Covering Forms
When a sheet of clay is wrapped or draped over
a glass, metal, wood, or cardboard form and
G E T T I N G S TA R T E D
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Finishing Touches
Carving, Drilling, and Filing
Polishing
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hobby drills.
G E T T I N G S TA R T E D
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G E T T I N G S TA R T E D
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Chapter 2
Surface Techniques and Applications
If youre one to dive into new projects, then youve come to the right place. This chapter will guide
you through familiar surface techniques that are created with some innovative twists, such as using a
kitchen scrubbing sponge to stipple layers of oil pastel (below left) or monoprinting with facial tissue
(below right).
Stamping, a popular technique in general, is especially versatile when combined with polymer clay
because not only color, but also texture come into play. Monoprinting, brayering, and masking
are among the techniques for achieving different looks with paint or ink applications. Spraying,
splattering, and sponging takes paint or ink in still another direction. Techniques involving powders, pastel crayons, and pens are also featured in conjunction with paint and ink methods as well
as independently.
Note: White clay is the base for all tile swatches except where indicated. All clay is conditioned and rolled
out to a medium thickness.
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Surface techniques involving acrylic media can yield dramatic results. The techniques presented here
introduce you to several acrylic products and faux surfaces that can be created with them. Imagine
making faux suede or paste-paper ornaments! Clay as Surface Media (page 54) demonstrates that surface design on clay isnt only about applying other substances on clay.
The collection of Surface Technique Intensives (pages 60-81) gives you an opportunity to design surfaces using a combination of techniques. You can create either complex or subtle designs working
this way. The choice is yours.
Whether you try the techniques in succession or work with them randomly, youll gain a greater
appreciation for the art of surface design.
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Combining and applying stamps with various media allows for a wide array of effects.
Materials
30
aluminum foil
rubber stamp
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Variations
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A dramatic overall image can be created with shadow and bold image stamps.
Materials
32
1. Lightly ink the shadow stamps (the squares) and a bold image stamp (the
leaf) with colors from pigment ink palette set.
2. Stamp onto the clay, then gently blot the image with paper or a paper towel
to remove excess ink and hasten the inks drying. If you blot with a textured
paper towel, a bit of the towels texture will transfer.
Tip: The stamp may not adhere evenly on the clay and, as a result, the image
may come out splotchy. You may like the look. If not, simply touch your finger
to the ink pad and dab on more ink to fill in the splotches as desired.
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Variations
Ink a bold image stamp with various colors of metallic acrylic paint, then stamp on the clay and smooth
on mica powder. Create the border pattern by
sponging on metallic paint. Use liquid translucent
clay to seal the powder.
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Materials
1. Spritz the stamp with Armorall (car protectant finish) or water. This keeps the
clay from sticking to the stamp.
2. Press the stamp into the clay to make an even impression.
3. Use the foam pad to lightly dab on one color of paint over the clay. Let the
paint dry.
4. Apply additional layers of paint in a similar manner letting the paint dry after
each layer.
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Variations
Impress a daisy-patterned rubber stamp into a custom color of green clay. Sponge assorted acrylic
paints onto the textured clay.
Sponge one color of acrylic paint over clay texturized with a rubber stamp.
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Materials
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Variations
Place facial tissue between the pages of a sheet protector, then dot liquid acrylic paint or ink onto the
tissue. (This is done so that if the liquid acrylic beads
up on plastic, it would be absorbed by the tissue
paper instead.) Lightly spray water over the tissue to
help spread the liquid acrylic. Note how the folds in
the tissue transfer as impressions in the color.
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Materials
jewelry tweezer
1. Cut a piece of plastic into small sections. Place the plastic sections over the
clay, leaving space between each section.
2. Sponge one of the colors all over the clay. You do not need to cover the clay
entirely.
3. Let the paint layer dry.
4. Carefully pick up and reposition the plastic sections. Sponge another paint
color over the clay. Let it dry.
5. Reposition the plastic sections and sponge on another layer of paint. Let it dry.
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Variations
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Materials
1. Place a few drops of the acrylic paints on the clay. Be careful not to use too
many colors. They may become muddy when mixed.
2. Roll the brayer over part of the tile. Lift the brayer and roll it over another
section of the tile.
3. Repeat this process to create a look you like.
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Variations
Smooth a metallic powder onto clay. Roll a textured brayer in acrylic paint, then roll the brayer
over the tile.
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Materials
42
1. Place lines of paint across the clay. The paint lines can touch or not.
2. Run a medium-tooth comb across the painted clay to spread the paint and
to create classic paste-paper design.
3. Turn the clay diagonally and run a thin-tooth comb across it.
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Variations
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Materials
44
metallic powders
small brush
1. Smooth the medium onto the clay with a knife and let it dry.
2. Brush metallic powders over the layer.
3. Rub oil pastels selectively over the surface. Smooth and blend the oil pastels
as you apply them to complete the raku look.
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Variations
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Materials
46
small spoon
1. Use a spoon to mix a few drops of the dye with a small amount
of medium on a foam plate. Apply this mixture to the clay with a
palette knife. Let it dry. Make a second color mixture.
2. Lay the stencil, shiny side down, onto the clay. Squeegee a small
amount of the color mixture over the stencil. Lift the stencil and
place it in the pan until you are ready to clean it.
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Variations
Sponge alcohol-based inks onto the clay with a cosmetic sponge. Lay the stencil over the clay, and
squeegee tube acrylic paint across the stencil.
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Materials
wax paper
brayer
1. Place the fabric on wax paper and spritz it lightly with alcohol.
2. Drop various colors of ink onto the fabric, allowing the colors to bleed into
one another.
3. Pick up the fabric and wax paper together and place the fabric side on clay.
4. Roll the brayer over the wax paper, applying pressure to transfer both the ink
and the fabric texture.
Note: In this example, some colors were applied by rubbing the bottle tip on
the fabric. This translated as scribble lines in the design. You might exploit this
to create a look of writing. Also, the thin lines across the tile were the result of
a happy accident. Some fabric threads were caught between the clay and fabric. The threads were colored and impressed in the clay.
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Variations
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Materials
50
acrylic paint
pasta machine
1. Mix metallic powder with acrylic floor finish and use a soft craft brush to
paint this mixture onto clay.
2. When the surface is dry, roll the decorated clay carefully through a pasta
machine to craze or crackle the acrylic finish.
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Variations
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Materials
squeegee tool
pan of water
1. Wipe a thin application of liquid translucent clay onto the stencil using a
squeegee tool. Lay this treated side on clay, then smooth over the stencil with
your fingers to ensure that it is completely in contact with the clay.
2. Using a squeegee tool, apply paint over the stencil. Put the decorated clay
aside to let the paint dry. Use the pan to wash paint off of the stencil and
squeegee. Dry the stencil and tool.
3. Stencil on three additional paint layers, letting each layer of paint dry before
another is added. Applying liquid clay to the stencil helps keep the stencil from
pulling up previous layers of paint.
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Variations
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Materials
54
wax paper
pasta machine
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Variations
Cut thin slices from a mokum gan block of metallic clay with impressions from cookie cutters and layers of acrylic paint through it. (For more on mokum
gan, see page 24; shown: Stewart Gills Byzantia
metallic paint.) Cut out small shapes from the slices
with miniature cookie or hors doeuvres cutters and
apply them to black clay. Thin out the sheet
through the pasta machine.
Decorate a sheet of clay with thin canes in a scattered (shown here) or allover pattern.
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Materials
1. Texture a clay sheet using the rubber stamp. (Texturing clay will make writing
a little more challenging, so this step is optional.)
2. Lightly sponge on acrylic paint to reveal the stamped design. Let the paint dry.
detail paintbrush
Add ink to the ruling or calligraphy pen. Write initially on a sheet of scrap clay
to test the ink flow. Write on the decorated layer (as shown in the words
dream and play above), being careful not to scratch into the clay. Re-ink as
needed.
Write directly on the clay with the oil-paint marker (as shown in the words
art and color above).
Lay a piece of tissue paper where you want to write on the clay. Write on the
clay through the paper (as shown in the words create and beauty above).
Write on the clay with the detail brush charged with ink (as shown in the
word imagine above).
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Variations
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Materials
1. Add a few drops of dye to the spray bottle and dilute it with about twice that
amount of airbrush medium.
Tip: Colorhue can be diluted with water, but a watery liquid would run off the
clay. We diluted the dye with acrylic airbrush medium because it adheres to
clay. You can also dilute the dye with denatured alcohol, which will also
adhere.
2. Spray across a clay sheet, creating a pattern you like.
3. While the dye is wet, use a tissue blade or craft knife to scrape a fine powder
of various colors of pastel sticks over the inked clay sheet. Let it dry.
4. Sponge on the liquid clay before or after baking to seal the pastel. Be sure
to apply liquid clay with careful dabbing motions to minimize disruption of
the pastel.
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Variations
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Airbrushing
With airbrushing, fine droplets of paint are applied to clay. In this example, the underlying design in orange
paint isnt disturbed by the layer of blue paint airbrushed over it.
Materials
60
yellow, orange, and blue airbrush paint (shown: Golden; you may
need to thin other brands with airbrush medium if you are using a
compressor with a maximum pressure of 40 PSI or less.)
bubble wrap
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(a)
(b)
S U R F A C E T E C H N I Q U E S A N D A P P L I C AT I O N S
61
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Materials
62
texture stamp
pasta machine
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(a)
Variation
(b)
(c)
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Materials
64
cookie cutters
pasta machine
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(b)
(c)
(d)
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Materials
66
ball stylus
wire cutter
pasta machine
acrylic brayer
cardstock
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(a)
(b)
(c)
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Materials
68
fan brush
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(a)
(b)
(c)
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Materials
70
pasta machine
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(a)
(b)
(c)
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Materials
72
pasta machine
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(a)
(b)
(c)
(d)
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Materials
74
silk-screen stencil (The stencil used here was designed with Photo-EZ.)
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(a)
(b)
(c)
(d)
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Materials
76
rubber brayer
needle tool
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(a)
(b)
(c)
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Materials
78
wire tool
flea comb
rubber stamps
chalk pastel
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(b)
(c)
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(d)
(e)
(f)
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In time, as you explore surface design on clay, you may amass a collection of decorated clay sheets.
You can create new work with tiles made by reassembling strips from previously decorated sheets.
Tip: Store your decorated sheets between sheets of waxed paper. This helps keep the clay from
drying too quickly.
P O LY M E R C L AY A R T
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Projects
This book is primarily about technique and design. While it is great fun to make sumptuously decorated clay sheets, what would you do with them all? The projects in this chapter begin to answer
that question.
Offered here are a variety of projects that can be successfully executed by either a dedicated crafter
or an occasional one. All of them are very functional and they make terrific gifts (to yourself as well).
If youre interested in paper or fiber arts, then you might make the Mosaic Card, Painted and
Stamped Photo Journal Cover, or the Arts and Crafts Notepad. If you like to cook or entertain, try the
Creative Utensil Handle. You may want to cover other utensils as well. Imagine place settings with
decorated flatware! Last, if you like to wear your art, then the Faux Paper Bead Necklace and Tile
Bracelet are for you. Both projects are distinctive designs that are almost certain to win you notice.
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The projects are useful as learning opportunities because they employ a variety of skills and methods.
The utensil handle and necklace projects illustrate how decorated clay can be manipulated to make
dimensional objects. The photo journal and card projects highlight decorated clay as ornaments.
The jewelry projects are as much about jewelry design and construction as they are about surface
treatments on clay.
We hope making these items will fuel your creative energy. For further inspiration, see the gallery
section, containing other exemplary uses of surface design on polymer clay.
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section of embroidery
or coarsely woven
fabric
1. Condition the polymer clay and roll out a thin sheet of clay
(number five setting on the pasta machine or 1/16" [1.5 mm]).
glue stick
rubber-tipped craft
tool, such as a Colour
Shaper
ruler
paper trimmer
bone folder
micro cutters
(used here: Kemper
Ovals set)
pasta machine
(a)
3. Add more layers of paint colors with the brush. Let each layer of
paint dry fully (b).
4. Choose three distinctly different sizes of the cutters and use
them to cut an assortment of tiles out of the decorated clay sheet (c).
(b)
1. Use the rubber craft tool to add a thin layer of glue to the back
of the clay tiles as you apply them to the dark olive rectangle. First
apply a few of the largest ovals in an allover pattern on the cardstock. Next, fill in the spaces with the medium, and then the
smallest ovals.
2. Bake the decorated cardstock for 20 minutes at 275F (135C).
When the baking is done, let this cardstock and clay cool.
(c)
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Materials
decorated polymer
clay sheets
wax paper
pencil or pen
tissue blade
cardboard baking
surface
pasta machine
(a)
5. Place the clay sheet (decorated side out, beveled side in)
on the handle, centering it on the front. This will position
the seam at the back of the handle. Place the wax paper
between your hand and the clay sheet, and wrap the sheet
around the handle, gently shaping the clay sheet to fit.
6. Remove the wax paper, and use a large knitting needle
to roll the clay sheet toward the seam so that the two
edges meet. Gently persuade the clay sheet to wrap more
tightly around the handle. If you are covering an ice-cream
scoop handle, as in this example, you can firmly hold the
scoop with one hand as you finesse the wrap with the
other hand. Smooth the seam by rolling the knitting needle
along it.
(c)
7. At the ends, use your fingers to taper the ends and press
the clay into shape. Gently roll the knitting needle over the
edge of the clay to finish shaping the ends and smooth out
any finger marks.
8. Finally, examine the clay covering. If the covering is uneven
or irregular, very gently roll the entire handle between your
flattened hand and a smooth work surface, applying only very
light pressure. Pressing too hard will stretch the clay covering
and cause air pockets to form during baking. A tight fit is
essential.
9. Place the tool on the cardboard with the seam-side down
and bake for one hour at 275F (135C) in a convection
oven. Let the utensil cool thoroughly before handling. To
clean the clay-covered utensil, hand wash it with dish soap
and towel dry.
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Materials
assorted colors of
fabric dye (shown:
Colorhue silk dyes)
1 16"
steel mandrels, 1 /
(3 cm), or other thin
metal rod
wax paper
shaving cream
small container of
water
eyedropper
paper towels
disposable aluminum
baking pan
cutting mat
tissue blade
wire cutter
needle-nose pliers
narrow flat-nose or
curved flat pliers
pasta machine
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1. Condition the clay and roll it out to be 1/16" (1.5 mm) thin (or use
setting five on the pasta machine). Place the sheet on wax paper.
2. Trim the sheet lengthwise. Cut the clay sheet width-wise into
long, narrow, equilateral triangles. The longer the base, or shortest
side of the triangle, the longer the resulting bead. You can create
beads of varying length for this necklace. Set the cut sheet of clay
aside (a).
3. Roll the clay triangles, starting at the base of the triangle, on the
steel mandrel. Roll all the clay triangles, leaving the resulting beads
on the mandrel, and lay them aside on wax paper. The beads stay on
the mandrel until after they are baked.
(a)
6. Roll a clay bead in the shaving cream mixture. Stick the mandrel in
the craft foam with the dyed bead sticking up. Repeat with all the
beads.
7. Arrange the mandrels in the aluminum pan so the beads do not
touch each other. Bake the beads for 45 minutes at 275F (135C).
8. Cut lengths of wire that are about two-and-a-half times the length
of your beads. String on three seed beads and pull up and twist the
wire to secure the beads as a loop at the end (b).
(c)
9. Cut the chain to the length you desire, adding in the length of the
clasp.
10. Lay out the clay beads and choose the clay bead you want to be
in the center of your necklace. String it on to a piece of the wire you
prepared. Add a seed bead at the top of the clay bead.
11. Find the center of your chain and attach your first full bead to
the center link of your chain. Attach your first bead by using the
round-nose pliers to make a wire loop at the top of the bead. Leave
a 1/16" to 1/8" (1.5 to 3.5 mm) space at the base of the loop for wrapping wire later. Dont close the loopleave the wire extended.
Thread the extended wire through the chain link until the chain link
rests in the wire loop. Wrap the wire closing the loop around the
base of the wire at the top of the bead using the flat pliers. Attach all
other beads in this manner (c).
12. Construct the necklace by adding the wired beads, one at a time,
alternating from one side of the center bead to the other. This way
you will see how your necklace is forming.
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Materials
tissue blade
pasta machine
(a)
The undecorated album
5. Remove the album, and apply two fine coats of spray adhesive to
the unfinished side of the painted fabric, following manufacturer
instructions. Allow the adhesive to air dry a bit until it is tacky.
Carefully reposition the open album on the sticky fabric, smoothing
away any air bubbles from the center out. Fold over the long sides
to adhere them to the inside of the cover, trimming at the spine
where necessary. Tuck in the corners and fold over the short sides
6. Trim your sheets of interior paper so they will cover all of the raw
fabric edges on the inside of the front and back covers, generally
leaving W" (6 mm) around all exterior edges.
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(c)
10. Adhere the tiles to the front cover of the album. We used hot
glue, but white craft glue also works well (d).
(d)
Stamp credit: Artist-designed stamps produced by Ready Stamp
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Variation
This is another example of this album, using yellows,
oranges, and reds. An old credit card was dipped
in paint and then dragged over the fabric to create
the lines.
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Materials
Polymer-compatible
gloss varnish
pliers
tissue blade
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(a)
(b)
paintbrush
texture sheet
(c)
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(d)
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(e)
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Note: The cover is reusable. When all the notepad pages are full, simply untwist the wire, place the clay
cover onto a new pad, and twist the wire back on.
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Materials
cardstock
black-and-white copy
of template (page 120)
cyanoacrylate glue,
such as SuperGlue or
Krazy Glue
tissue blade
wax paper
needle tool
ruler
bamboo skewer
stenciling brush
polishing wheel or
soft cloth
pasta machine
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(a)
1/4
(b)
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(c)
(d)
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7. Peel the three layer tiles from the wax paper and
place them facedown on cardstock with the black
side up. Place the needle tool in each channel for
support, while using the stencil brush to texture the
black side of the tiles (e). Bake the tiles for 30
minutes at 265F (129C), then cool.
8. Make a snake of black clay approximately W"
(6 mm) in diameter and 5" (13 cm) long. Measure at
W" (6 mm) intervals and cut the clay at each mark.
Roll the clay pieces into tiny balls by hand and push
a bamboo skewer through the center to form 20
small beads (f). Reshape by lightly rolling the beads
again. Enlarge holes in two of the beads to later hide
knots tied in the elastic. Bake the beads on cardstock
for 20 minutes at 265F (129C), then cool.
9. Wet sand the front and sides of the tile with
consecutive 320, 400, 600, 800, and 1,000 grit sand
paper. Buff with a polishing wheel or soft cloth.
(e)
(f)
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Chapter 3
Transforming the Clay
Polymer clay can be combined with many other
materials, but there are so many special clays
glittery, pearly, opaque, transparentthat it can also
be completely transformed without using anything
other than the clay! In this chapter, well explore how
to manipulate this medium with astounding effects.
One satisfying basic way to transform polymer
clay is to stack many thin layers of contrasting colors
and roll it into beautiful canes. The resulting jelly-roll
canes can be further shaped, then sliced to create gorgeous veneers and beads. This technique can be varied
in so many waysand each one is sure to be original. Its a great introduction to caning.
Youll also discover the fascinating attributes of metallic clay, which contains particles
of a shimmery mineral called mica. By simply rolling mica-rich clay repeatedly, you can
actually change the alignment of the particles. Well show you how to use this technique
to create a stunning holographic ghost image.
Another basic technique is to blend clay colors. Clays can be blended to make smooth
gradations from one hue to another, then stacked and recombined to create stripes, plaids,
and other patterns. Well teach you how to elaborate and expand on this technique to create
visually intricate patterns using a pasta machine attachment and contrasting clay colors.
With the array of available colors, and more specialty clays arriving on the market all
the time, theres no end to the effects you can create using only clay. Experimentyoure
sure to get results no one else has ever seen.
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Getting Started
Materials
104
screw eye
pasta machine
soft cloth
varnish, if desired
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Roll the white clay through the pasta machine on the next-tothinnest setting. Trim the clay so that the sheet is about 10" (25 cm) long
and 4" to 5" (10 cm to 13 cm) wide. Roll the pearl clay through the pasta
machine on the thickest setting, then do the same with the translucent
clay. Trim both sheets so that theyre the same size as the white sheet.
Lay the pearl clay on top of the white clay, then lay the translucent clay on
top of the pearl clay. Smooth the stack with a roller to get rid of any air
bubbles. Trim one of the shorter edges to make it straight. Run the roller
across the edge to bevel the layers, then roll the sheets up tightly. This
creates a basic jelly roll cane.
Cover one edge of the credit card or similar stiff, thin object with
cellophane or plastic wrap. Gently and evenly press the covered edge of
the credit card into the cane lengthwise. Roll the cane a quarter turn, then
press the credit card into the clay again. Repeat twice more so that the
cane has four evenly spaced indentations. Repeat the process four more
times, pressing the credit card into the clay between each of the four
original indentations. The cane should have eight deep, evenly spaced
indentations. Allow the clay to rest at least 30 minutes to firm up, then
trim off the rough edges at a slight angle.
TIP
Distort the cane immediately after making the jelly roll while the clay is still
soft, warm, and pliable.
Form the scrap clay into two balls, each about 1" (3 cm) in diameter.
The scrap clay should be well blended so that no lumps remain. Roll the
brightly colored base clay through the pasta machine on a thin setting, then
wrap it around the cores to create an attractive, uniform color. Remove any
excess clay, and smooth the surface of the covered cores.
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Slice the end of the chrysanthemum cane at a slight angle, then cut
several slices as thin as possible; however, dont worry about cutting the
cane into perfectly even slices: Slight variations in thickness result in a more
interesting, variegated effect. Roll a few slices through the pasta machine
on medium-thin setting, then place them on the balls of clay, overlapping
the edges. (This step enhances the visual depth created when translucent
and opaque clays are used together.) When the balls are completely
covered, roll them gently to smooth and round them out.
Examine the balls of cane-covered clay to choose the fronts and tops
of the hearts. Form the point at the bottom of the heart by rolling an area
of the clay ball tightly between your fingers. The clay should resemble
an upside-down tear drop. Form the upper lobes of a heart by making an
indentation in the middle of the rounded part of the tear drop. To deepen
and accentuate the cleft, press a folded piece of cardstock, such as a business
card, between the lobes, and rock it back and forth. Smooth and refine the
shape as desired.
Now youre ready to insert the screw eye so you can hang the heart.
Make a pilot hole about 1 2" (1 cm) deep exactly between the two lobes
with a needle tool, then enlarge the hole slightly using a tiny circular
motion. Insert the needle into the hole about 1 4" (6 mm) deep, and press
sideways with the end of the needle on each side of the pilot hole to create
slits to accommodate the sides of the screw eye. (Creating side slits will prevent any distortion caused by pressing the screw eye downward.) Carefully
insert the screw eye, making sure that its perfectly parallel with the plane of
the heart, and pinch closed the open spaces around it. If its at all crooked,
gently twist it into proper alignment with some tweezers or needle nose
pliers. Bake following the clay manufacturers directions.
To achieve the ultimate transparent effect, there are no shortcuts. Sand
the baked hearts, first with 400-grit wet/dry sandpaper, then with 800-grit
(or finer) sandpaper. Buff with a soft cloth until shiny. Finally, apply a coat of
varnish, if desired.
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Variations
Adding inclusionssuch as glitter, sand, embossing powders, and dried
herbsinto polymer clay is a simple and satisfying way to embellish a
project. The technique produces especially striking effects when applied to
translucent clay. You can use Fimo glitter clay for one of your layers, or you
can make your own glitter clay: First pour some glitter into a bowl. Next,
flatten conditioned clay into a pancake, and press it into the glitter. Then,
fold the pancake in half, with the glitter on the inside; pinch the sides shut
to keep the glitter from flying out, flatten the clay, and roll it into a log.
Twist, flatten, fold, and roll the clay again. Repeat these steps until the glitter is evenly mixed throughout the clay. This technique can be used to mix
other inclusions into clay, but make sure that all materials are completely
dry. You can also use metal leaf as one of the layers in creating the cane,
sprinkle multicolored shreds of clay on one of the layers to give a confetti
look, or substitute a multicolored blend for the white layer.
Instead of distorting the spiral into the chrysanthemum form, use it as is
or square it off. Try covering your cores with other decorative clay, such as
mokum gan (see page 118) or metallic ghost image clay (see page 108).
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Getting Started
Materials
basic polymer clay equipment and supplies
(see page 15)
spray bottle
pasta machine
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TIP
Always use clean waxed paper for different stages of the project to prevents nicks, fingerprints, and other damage
to the clay. This will reduce the amount of sanding time necessary to achieve the high-gloss finish.
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Lay the vase top face-down on a new piece of waxed paper. Turn the
base upside down, and position it over the hole in the vase top. If the log
on the top of the vase has stiffened, condition it again until tacky. Use the
Plexiglas square to gently press the base to the vase top. Turn the vase over
so that its facing up, then set it on a piece of clean waxed paper. Remove
the protective waxed paper from the vase top, and apply it again. Use the
Plexiglas square again to gently press the top to the base. Smooth the
corners of the vase top down through the waxed paper so they touch the
work surface. This will ensure a steady, stable vase. Bake at 275 F (135 C)
for 60 minutes.
To bring out the chatoyant, three-dimensional ghost image effect of the
imprinted texture, sand the vase top in a bowl of warm, soapy water with
successively finer grits of wet/dry sandpaper (400-, 600-, 800-, 1,500-, and
then 2,000-grit). Wash the vase in clean, warm, soapy water, then dry it.
Use a cotton-polishing wheel to buff the piece, then wash and dry it again.
Finally, apply a small dab of candle adhesive or floral clay to bottom of pin
frog to secure it in the bottom of the vase.
Variations
The graceful, simple form of these vases is the perfect canvas for experimenting with texture and color. Try simulating nature: wood, water, stones,
foliagethese patterns will complement any flower. Specialty texturing
tools are commercially available, but experimenting with found metal or
plastic objects like screens or grids can lead to great discoveries. Also try
creating a texture that can be felt as well as seenuse rubber stamps,
carving gouges, or custom-made clay tools.
Ghost image clay can be used for many other projects, from bracelets
to pins to picture frames.
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Shows and conferences often inspire clay lovers to create novel techniques.
Materials
theme, artist Susan Hyde created this poof box, which features a faux-fab-
Judith Skinner and Kathleen Amt and added her own special touch: the
linguini effect. Use contrasting shreds of clay and embossing powder for
ruler
further effect, make it into a cane or loaf, fold a sheet into a curvy box, and
get sealed-in air to support the baking form.
112
Getting Started
For this project, the clay doesnt need to be conditioned in advanceit will be conditioned by the
process of making the blend.
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Sprinkle about a tablespoonful of embossing powder or superfine glitter on half of the clay sheet, fold it
over, and pinch the sides to keep the slippery embossing
powder from scattering; press down gently to join the
halves. Run the clay through the pasta machine fold first;
fold again, and repeat 10 times. You now have a streaky
color blend. Trim it into a long rectangle.
Sprinkle a little baby powder on the surface of three 2" (5 cm) strips of unconditioned clay in bright colors that contrast, or even clash, with the streaky blended sheet.
Spread the powder all over. Make worms from the bright clay by running through the
linguini attachment of the pasta machine. If you dont have a linguini attachment, use a
ruler and a sharp craft knife to produce plenty of linguini-size shreds. Place them on one
end of the blended clay sheet; theyll become colorful speckles in the final piece. Fold the
slab across the middle, run it through the pasta machine again, and repeat.
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(1)
B
4
A
Cut the clay sheet in half across the middle. Take one part, cut it in
half in the direction of the streaks, and flip the halves together, fronts facing. This is stack one. Repeat with the other part, and place one half on top
of the other without turning or flipping it so that the bottom of one side
rests on the top of the other side. This is stack two. When you have finished, stack one will make a striped pattern and stack two a plaid pattern.
A
STACK ONE
(2)
STACK TWO
FOR STRIPES:
For stripes, slice stack one in half, across the streaks, and stack again.
(See diagram 1.) Repeat twice so you have a little loaf with horizontal layers,
like a club sandwich or layer cake. (See diagram 2.) Slice down the side to
produce a striped piece.
For plaids, slice stack two in half, across the streaks, and stack again.
Repeat twice, as you did for the striped stack. Then, tip the loaf over on its
side so the layers are standing up and running straight toward you. Mark it
in regular increments about 14" (6 mm) apart, and slice it, cutting downward
perpendicular to the layers. Separate the slices a little, and turn every other
one around so the blends dont match. (See diagram 3a.) Pack and trim the
stack into a neat loaf. The top will have a plaid pattern. (See diagram 3b).
When your fabric loaves are finished, cut several thin slices of each,
giving you stripes and plaid. Roll out a thin sheet of any conditioned clay
(it wont show once the project is complete). Patch the fabric slices together
on this backing sheet in a pleasing pattern. Run each patchwork sheet
through the pasta machine repeatedly, starting at the thickest setting and
stepping down to setting #4 or #5. Before each rolling, rotate the sheet one
turn so it doesnt stretch too far in one direction. The cloth will become
quite thin and the pattern will expand. (See diagram 3c.)
FOR PLAIDS:
(3a)
(3b)
(3c)
Roll scrap clay through the pasta machine on the thickest setting to
make about a 6" (15 cm) square. Place a layer of your patchwork faux fabric
over it. Cover it with waxed paper, and roll it down firmly with the brayer to
fuse the layers. Cut out a circle of your faux fabric about 4" (10 cm) across.
Turn the square over, place the circle in the center, and roll it down. This becomes the inside of the box and will be beautiful when you look inside.
Place the square between two pieces of cloth and roll hard again with
your brayer to fuse the clay layers and give the box a nice cloth texture. Trim
the square with a ruler and sharp craft knife to bevel the edges toward the
inside of the box.
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Remove the box from the oven, and let it cool just until you can handle it. Take your sharp craft knife and, holding it at an angle as if you were
cutting the lid of a jack olantern, cut a square top from the box. You can
follow the fabric patterns in the clay if you like. Cut on an angle that slopes
in toward the center of the box. If you cut straight down, there wont be a
ledge for the lid to sit on and it will fall straight down into the box. If you
like, cover the bottom of the lid with a patch of faux fabric, because its
usually pretty messy from all the pinching and not symmetrical. Trim the
patch even with the slope of the lid, and bake for 10 minutes, just to
harden the clay. For the handle on top that will never come off, use a cane
slice or any attractive piece of clay. Add it to a disk of unbaked clay (to
make the surface smoother), dab on some TLS, press it onto the top, and
bake for 20 minutes.
With the circle facing up, lift up two adjacent corners of the
square, put the corners together, and gently squeeze the edges together. Bring up another corner and finally the fourth. It can be tricky
to get the edges stuck together neatly. Alternatively, you can pinch
them upward like a ruffled pie crust edge. When all the edges are
stuck together, poke the straw into the little hole in the top where the
points meet, and blow so the box inflates. Remove the straw, pinch
the hole closed, and quickly get the box into the oven. The air inside
will keep the box inflated. Bake 30 to 45 minutes at 275 F (135 C).
Variations
Faux fabric can be used anywhere patterned or decorated clay is wanted,
from an ikebana vase top (see page 108) to a fitted box (see page 126).
Experiment with different kinds of shreds using a clay extruder with various attachments. Imagine making faux-fabric accents for clay figures, dolls,
or other sculptures! Be sure to see page 122 for tips and inspiration.
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Chapter 4
Creating the Structure
One of the most satisfying things you can make with
polymer clay is a three-dimensional piece. As with all
modeling media, sound structural techniques are integral to using polymer clay effectively, especially when
making functional piecesyou dont want your creations to fall apart! In this chapter, youll discover some
of the many ways to create lovely, durable artwork.
One simple technique is to cover a form with thin
veneers of clay. Glass, plain metal, and papier mch
are good candidates. If a rounded form is enclosed, no
glue is needed. If the object has straight sides, you can coat it with white PVA glue and let
that dry. Then add the clay, which will stick to the dry glue. This makes it possible to create
vessels of nearly any shape. Use veneers with at least some translucent clay for candleholders that diffuse light beautifully. Also try encasing cardboard pieces, like the matchbox
used for the Storyteller Doll on page 122.
Youll also discover the secret to making a perfect round box using an ordinary mailing tube. By layering sheets of clay around a cardboard cylinder, youll be able to make a
box with a top that fits so well, it will make a popping sound when you open it! Another
technique youll learn is how to make extraordinarily thin but strong polymer clay leaves
that can be wired and used to build a lush centerpiece like the one on page 48. Made with
a special clay mixture and reinforced with flexible varnish, the leaves can be handled and
manipulated with ease.
Remember, the methods we explore in this chapter can be used to create new projects with just a little modification. Just follow the basic technique, and add your own
special touch.
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Getting Started
Materials
basic polymer clay equipment and supplies
(see page 15)
pasta machine
ripple blade
flat brush
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Begin by rolling two separate sheets of marbled clay through a pasta machine on the thickest setting. For sheet A, marble together 38 block
of gold clay, the copper clay, and the burnt
umber clay. For sheet B, marble together the
black and silver clay.
Cut both sheets into 1 12" (4 cm) squares, and
stack them to form a loaf. Alternate between
sheets A and B. Then, roll gently over the surface
to eliminate air bubbles and adhere the layers to
each other. Press an edge of the loaf into the
lump of scrap clay so the layers are vertical.
Using the ripple blade, cut 18" (3 mm) thick
slices. Try to make each slice of the same thickness. The scrap clay will hold the loaf steady
while cutting. Then, roll the slices through the
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Place the slices over the outside of the glass votive. Piece
them together so that the edges meet; dont overlap them,
which will create raised seams. Roll gently over the edges to
smooth and fuse the seams. Bake the votive for 20 minutes
at 275 F (135 C). Once the vessel has cooled, wet-sand the
clay with 400-grit sandpaper, then 600-grit sandpaper to
refine the surface and remove any imperfections. Use a flat
brush to apply two coats of glossy polymer clay-compatible
varnish, such as Flecto Varathane Elite Diamond ISP, then
allow the vessel to dry completely.
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Wipe the leaves with an isopropyl alcoholsoaked paper towel to remove any oils. Then,
mix the copper-colored mica powder into a
small amount of varnish. Use a small round
brush to paint an accent stripe down the groove
in the center of each leaf. Let dry. Use a flat
brush to apply one or two coats of varnish to
the leaves.
Variations
Try varying the shapes of the leaves, using more of them, and arranging
them less regularly. Also try using other glass forms, from vases to hurricane lantern chimneys.
Mokum gan is an intriguing technique with infinite variations. To make a
simple, versatile block, layer alternating sheets of clay and metal leaf. Try
using heat-treated leaf, which has beautiful color variegations. And be sure
to use at least some translucent clay, which will create visual depth and
allow the metal leaf in the block to show through the layers. Then experiment with translucent slices over a base of contrasting color. Sand, then
buff to a high shine for the most stunning effects.
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Storyteller Doll
This storyteller contains a hidden compartment,
which opens to reveal an accordion-folded book.
An ordinary matchbox serves as the structure for
the compartment,demonstrating how everyday
materials can be readily integrated with polymer
clay. The book pages can be decorated with any
number of thingsa favorite quote written in
calligraphy, rubber stamping, drawings that
tell a tale, or a collage of inspiring images. The
simple structural techniques described here can
be easily adapted to create a doll with personal
or cultural significance.
Getting Started
Materials
basic polymer clay equipment and supplies
(see page 15)
elastic cord
acrylic paint
decorative paper
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The dolls head can be sculpted from an elongated ball of clay, using a thumbnail to create the
eyes, a needle tool to create the mouth, and a
small snake of clay to create the nose. Once the
face is formed, coat 1" (3 cm) of a 2" (5 cm) eye
pin with glue, starting at the looped end. Insert the
eye pin, loop first, 1" (3 cm) into the head. Bake
following the manufacturers directions. Once cool,
rub acrylic paint over the face, then wipe away the
excess so the features are highlighted.
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Add accents.
Use beads, wire, charms, and any other desired materials to embellish
the storyteller. The coiled headdress here was made by wrapping delicate
wire around a knitting needle.
Variations
The basic technique of enclosing a box within polymer clay has limitless applications. Try enclosing a wooden container, perhaps with a sliding top, to
create a treasure keeper. Or build a figurine and give it a small glass bottle
to hold; then, fill the bottle with scented oil or a fragrant herbal sprig.
Another option is to custom-make a box. Sketch out a template, using a
real box as a guide if desired, then use cardstock or cardboard to construct
it. (See the Laminated Boxes project on page 152 for more information on
constructing oven-safe paper containers.)
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Getting Started
Materials
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cellophane tape
pasta machine
Plexiglas rod
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Using your Plexiglas rod and pasta machine, prepare a sheet of clay about 3" x
10" (8 cm x 25 cm) (rough edges are okay at this
point). Use the third-thickest setting. For example, if #1 is your thickest, use setting #3. Place
your clay sheet on a sheet of office paper; working on paper will allow you to move and lift the
clay easily. With your ruler and craft knife, cut a
clean edge along one of the short ends of the
clay sheet. Reposition your clay sheet so the cut
edge is about 14" (6 mm) away from and parallel
to the edge of your paper; turn it so the cut
edge is closest to you. Place the paper-covered
tube on the clay sheet.
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To make the lid, you will use the 2" x 12" (5 cm x 30 cm) piece of rag
paper. Your clay sheet should be about 2" x 10" (5 cm x 25 cm). I used a
different color. Repeat the first two steps, but over the baked clay now surrounding your tube. First, prepare the rag paper with glue and wrap it
around the tube-and-clay form, making sure the rag paper is snug but
moves freely over the baked layer. Then, wrap the rag paper with the new
clay sheet, making sure the new clay layer is centered on the rag paper
wrap and snug and the seam is sealed; the new clay shouldnt overlap or
touch the baked clay beneath. Remember to smooth and adhere the clay
fully by rolling it within a copy paper wrap. Trim the new clay cylinder to 1"
(3 cm) long. Bake, and cool.
Now, release the clay cylinders by gently twisting and sliding them off
the postal tube. The rag paper will enable them to separate easily. Remove
the paper from both layers. The second, shorter layer will be larger in diameter than the other, and the first clay layer will nest snugly within it.
Using the same setting on the pasta machine, prepare two small
sheets of clay.
To make the top for the lid of the box, place one of the clay sheets on a
piece of paper. Place the box lid on the clay sheet, and gently press it in
place, without pushing it into the clay. With your blade, trim around the
contour of the lid until all excess clay is removed. Carefully lift the lid from
the work surface, and gently press the fresh clay with your fingers to secure
it to the baked clay edge. This will ensure it adheres during baking. Repeat
these steps to make the bottom for your base. Stand the lid and base, open
ends facing up, on your baking tray. Bake and cool. You have completed a
basic box.
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At this point, the box lid overlaps the base, like an ice cream carton.
But in the finished jewelry box, the lid will be flush with the base. To create
this we must add another layer of clay to most of the base.
First, prepare a sheet of clay about 3" x 10" (8 cm x 25 cm). You will
use this clay sheet to wrap the base as in step 3, but because you want
these clay layers to adhere, theres no rag paper buffer. Wrap the new clay
around the base, and trim it top and bottom using the baked clay edges
beneath to guide your blade. Now, using a vial to steady and support your
blade, trim away about 12" (1 cm) of clay from the top (open) edge of the
base. Stand the base on a tray, open end up, and bake. You now have a
box with a lid that slips over the lining of the base and rests on the edge
of the layer you have just added, creating a uniform outer layer.
The specific processes and techniques used to finish your boxes will
depend on how you want to decorate them. You could use cane slices,
mokum gan, imitative materials such as faux ivory or stone, surface
texturing, transfers, colored pencils, stencils, paintwhatever you like.
The choice is yours. Clay veneers were used here.
For added strength and a clean finish, the box decoration is done in two
baking stages: lid top and base body, then lid body and base bottom. First,
make a sheet of veneer, and decorate it. Cover the top of the lid and the
body of the base with the veneer, and bake, open ends up.
When the lid and base have cooled, finish your decoration by covering
the body of the lid and the bottom of the base. Note that the wrap covering
the lid body conceals the exposed edges of both the structural and decorative tops of the lid, and the base bottom covers the concentric wraps of the
bottoms body.
Finally, stand the fully veneered lid and base on your baking tray with
open ends up and bake. Once theyve cooled, you can finish your decoration with any additional finishing techniques (see page 24).
Variations
Different diameter tubes, and even different shaped forms, can be used
to create all sorts of containers with snug lids. For example, I have used
smaller wood dowels and metal tubes to make wearable vesselshollow
pendants with space to hold a lucky charm, inspiring message, mad
money, or aspirin.
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Getting Started
Materials
basic polymer clay equipment and supplies
(see page 15)
straw wreath
E6000 glue
round tapered Clay Shaper
pliers
floral stem wire
pasta machine
To prepare leaves, first clean them with dish detergent and water, then lay them on a paper towel to
dry. Store them in a phone book to keep them flat
until youre ready to use them. To prepare flowers,
carefully separate the petals, then keep them in
water until youre ready to use them. Lay them on
a paper towel, and blot gently to dry them before
decorating them with pigment powder.
wire cutters
glass candle chimney and pillar candle
floral tape
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To make leaves and flowers, mix equal parts of Sculpey Super Flex and
the desired color of Premo clay. Roll out the mixture as thin as you can
without it sticking, then leach it (See Leaching on page 18). Lay the
clay sheet on a piece of waxed paper, parchment paper, or office paper.
Apply a layer of Pearl Ex to the underside of the leaves or petals.
Spring green, pearl white, and brilliant gold were used here. Gently
shake off the excess Pearl Ex and turn the leaves or petals over, placing
the powdered sides down on the piece of clay. Press them down gently
with your fingertips, but try not to move them around. Do this with as
many leaves or petals as you can fit on the sheet of clay, or as many of
that variety as you want. It takes 15 to 25 carnation petals to make
one flower.
To make leafy accents to cover the base of the flowers, cut a small
sheet of the leaf-colored clay, roll it as thin as you can, then apply a
layer of green Pearl Ex. Set aside this sheet for baking.
TIP
To make a frilly carnation, the clay should be as thin as possible. Also, leach
the clay sheet until it doesnt feel sticky anymore.
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Cut 6" to 10" (15 cm to 25 cm) lengths of 22-gauge craft wire, and
fold them tightly in half, with the ends meeting (the size will depend on
how long the spine of the leaf is and how much of the leaf you want to
have wired). These will be the stems of the leaves.
Lay a folded craft wire on the back of a clay leaf with the fold of the
wire about three-quarters of the way up the leaf. Cover the wire with a
strip of clay, and trim the excess off at the base of the leaf. Using the back
end the Kemper Pro Needle Tool, a clay shaper, or some rounded tool,
smooth the edges of the strip into the clay of the leaf. Dont press too hard
or youll smooth out the texture on the other side of the leaf. Then hold
the leaf by the wire and cover the back with Pearl Ex.
Depending on the kind of leaf youre using, youll want to give it a
three-dimensional look before its baked. You can use a rounded tool to
carefully stretch the edges a little, which automatically gives you a curly effect on the leaves. You can also use a needle tool to deepen the leaf impressions. Fold the leaf gently along the vein lines that you want to show
the most. When you have the look to the leaf that you want, place it down
on a piece of paper on your baking pan. Bake at 265 F (129 C) for 40
minutes. Let cool, then seal with a spray varnish that is compatible with
polymer clay, such as Krylon Triple-Thick Crystal Clear Glaze Spray.
Shape petals as directed for the leaves, but use a smaller tool such as
a round tapered clay shaper. Then, along with the green clay sheet that will
be used to cover the base of the flowers, bake at 265 F (129 C) for 40
minutes. Let cool, then seal with spray varnish, such as Krylon Triple-Thick
Crystal Clear Glaze Spray.
To make the wire stems, first cut 6" to 10" (15 cm to 25 cm) lengths of
22-gauge craft wire. Use pliers to bend down about 1" (3 cm) of the stem
wire, making an elongated loop on one end of the wire; this helps to give
you a better base on which to lay the petals while youre assembling the
flower. Next, cut about a 2' (61 cm) length of floral tape. Wrap it around
the loop of the wire, stretching the tape carefully, yet not too hard. Keep
twisting the wire while you hold the tape taut, and run the tape down the
wire about three-quarters of the way down.
Now attach the floral tape to the top of the wire again. Grab a couple of
petals, preferably petals with tight curly edges. I like to put the tighter curls
in the middle and the looser curls on the outside of the flower. Put the base
of the petal up against the elongated loop at the top of the wire. Wrap the
floral tape over the base of the petal, pulling the tape slightly. Slip in another petal, and wrap the floral tape around the wire a couple times. Add
three or four more petals, then twist the tape halfway down the wire, and
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break it off. Then start at the top again, attaching the tape to the wire, and
add more petals. Keep adding petals evenly around the flower. When your
flower is the size you want it, run the floral tape all the way down the wire,
and break it off.
Cut a piece from the green clay with scissors. Cut one edge in a zigzag
pattern for a decorative finish. Wrap the piece around the base of the
flower, and trim off any excess. Using floral tape, secure it to the flower.
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Plan the arrangement of the wreath. Position the focal flowers or leaves first. Then, remove them one at a time, coat the bottom of
the stems with E6000 glue, and replace them
in the same hole. Fill in the rest of the space
by using a needle tool to make a hole in the
wreath and then inserting a glue-coated wire
into the hole. If youre using a straw wreath to
assemble your centerpiece, the wires dont
need to be any more than 1" (3 cm) long.
Continue until all the leaves and flowers are
glued in place. Trim the wires as necessary.
Set the pillar candle in the center, and
voila! Enjoy your centerpiece. If you plan to
burn the candle, place it in a glass sleeve or
chimney so the wreath cant catch fire.
Variations
The technique described here is perfect for creating realistic whole flowers;
simply wrap the entire stem and add a few wired leaves. Whole flowers, or
individual leaves, can be used to make and decorate so many thingstry
using them to fill a vase, make a wall wreath, decorate a curtain swag, or create custom jewelry. Or build simple polymer clay circles, then attach smaller
leaves and flowers to make napkin rings that coordinate with your centerpiece.
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Chapter 5
Enhancing the Surface
You have luscious-colored clay to work with; you can
make intriguing, useful, sturdy structures. So what
goes on top? How can you frost this cake?
In about a million ways.
The range of possibilities for surface decoration is
one of the most delightful attributes of polymer clay. It
works with a host of other art, craft, and commercial
materials. You can stamp it, mold it, paint it, emboss
it, carve it, antique it, gild it, and transfer words and
pictures onto it. It can be used to create anything from
a cameolike pendant to an enameled wind chime to a Roman-style mosaic. This easy
adaptability inspires artistic experimentation thats bound to lead to exciting discoveries.
Other arts become a banquet of inspiration for polymer clay crafters hungry to play
with the clays surface and create special effects. Paper arts such as rubber stamping, printmaking, and bookbinding contribute pigments, paints, inks, glues, colored pencils, iridescent powders and metallic leaf, photocopies, glitters, and embossing powder. Jewelry
contributes carving, inlaying, enameling, texturing, mosaic making, molding, and antiquing. Even the kitchen can be raided for cookie cutters, candy molds, and sugarcraft
tools for making fancy cake icing.
The interplay between texture, dimension, and surface decoration is another intriguing aspect of polymer clay crafting. Keep in mind how these elements will interact
when planning a project. Because clay can be easily molded, manipulated by hand, or
textured with various materials ranging from sandpaper to leaves, there are unlimited
combinations to explore.
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Materials
basic polymer clay equipment and supplies
(see page 15)
tracing paper
graph paper
small brush
1 tiny pinecone
toothpick
pasta machine
dust mask
cardstock
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Getting Started
Coat 1" (3 cm) of each end of the pendant cord with
cyanoacrylate glue (unless youre using leather), and
hang to dry.
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TIP
You may find it helpful to press the pine needles
down with a small piece of clear glass borrowed
from a frame. Carefully lift the frond away. Bake
both molds according to manufacturers instructions, and cool completely.
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When the pendant has cooled, antique it by applying flat black acrylic
paint with a small brush between the pine needles and in the crevices of
the pinecone.
Fold a 5" (13 cm) length of black crochet thread in half, andholding
the ends togetherthread them through one eye from the side, and draw
the thread through until youre left with a dime-size loop of thread on the
outside and two long ends in the middle. Lay the pendant face down, and
separate the threads. Lay one thread up (perpendicular to the top edge of
the pendant) and the other down (perpendicular to the bottom edge). Take
care not to pull your loop through the eye.
Place one end of the hairpipe bead into the loop, and lay the bead, centered, across the top edge of the pendant. Grasp the ends of the thread
(one in each hand), and pull the loop snugly against the bead. Then tie the
thread into a knot against the back of the bead to hold it tightly in place.
(You may want to make a double knot to be safe.) Put a tiny dot of cyanoacrylate glue on the knot to secure it. When its dry, trim away the excess
thread. Repeat this process for the other side.
Fold the necklace cord in half. Holding it at the loop end, thread it loopfirst (going in at the front out at the back) between the eye pins, beneath
the hairpipe bead, until you have a 112" (4 cm) loop at the back. Fold the
loop up, and thread both cord ends through it. Pull snug to form a larkshead knot around the bead.
Clip the dry, stiffened ends of the pendant cord at an angle with clippers
or sharp scissors. Thread both pieces of the pendant cord through an accent bead (it may be easier to do one at a time), and slide the bead into
place just above the larks-head knot.
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Thread one end of the pendant cord through the closure bead, then
thread the other end through the bead in the opposite direction. The cord
should fit snugly in the bead so that when the ends of the cord are pulled
to adjust the length it will be held securely in place.
Tie a knot in each cord end. Place a tiny dot of cyanoacrylate glue on the
knot to secure it. When the glue is dry, trim the excess.
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Variations
This necklace is constructed much like the main project, but instead of
using a mold for the design, its made using two Asian-themed rubber
stamps. The main design is the Kanji character for Happiness.
For the top layerlayer oneroll a sheet of black clay through the pasta
machine on setting #4. Place the sheet of clay on a piece of tracing paper.
Rub gold-colored bronzing powder over just the top surface of the Kanji
stamp with your finger, and then stamp an impression into the clay.
Trim the clay neatly around the image and bake at 275 F (135 C) for
10 minutes.
For layer two, roll a sheet of black clay through the pasta machine on
setting #5, then lay it on a piece of cardstock. Coat the surface of the oriental text stamp with gold powder as before, and press it onto the sheet of
clay. When the baked Kanji piece has cooled, score the back, coat it lightly
with white glue or TLS, and lay it over the middle layer. Lay a skewer gently
against each side of the Kanji layer and use it as a guide to trim a narrow
border from the unbaked layer. Bake at 275 F (135 C) for 10 minutes.
For layer three, roll out a small sheet of metallic copper clay on setting
#3, then trim it to about a 2" (5 cm) square. Lay it on a corner of a sheet
of gold leaf or composite leaf, and trim off excess leaf sheet with a sharp
blade. Run the leafed clay through the pasta machine on setting #3 to
ensure the leaf adheres well. Run it through again on setting #4. The gold
leaf will show tiny cracks. Rotate the leafed clay a quarter turn, and run it
through again on setting #5.
When the baked Kanji layers (layers one and two) have cooled, turn the
baked piece over, repeat the scoring and gluing process as before, and
press the piece firmly onto the leafed layer. Trim the left and right sides of
layer three flush with layer two. For the top and bottom borders, lay the
bamboo skewer gently against layer two as a guide, but trim the leafed
layer about 116" (1.5 mm) wider than the skewer. Bake at 275 F (135 C)
for 10 minutes.
Make the fourth and final layer following step 4 from the Molded Pine
Pendant (you wont need to do any antiquing), and assemble the necklace
following step 5.
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Mosaic Plaque
Materials
to the colors that can be used, as there is with other mosaic materials.
The waterin this mosaic was created by blending blue and translucent
clay with embossing powder in various amounts to create an array of
shades. The final result is a beautiful water scene with shimmery depth
tracing paper
matte varnish, Fimo or Sculpey
pasta machine
tapestry needle
penny or penny-size circular cutter
paint brush
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Getting Started
Be sure to include the most important details
when tracing an image for a mosaic, such as the
eye, fins, and gills of this fish.
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TIP
To make an eye like the one seen here, press a
small ball of clay into place with a ball stylus tool
or ball-headed pin.
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TIP
To enable you to hang the
plaque, adhere a looped
string to the back using
permanent glue, or drill
two holes at the top for a
knotted cord. A smaller
piece would make a striking brooch or pendant.
For guidance and inspiration, refer to the image used to create the
traced pattern. Fill in the major features, such as the fishs stripes and
spots, then continue with the background. Place the tiles in rows to keep
the mosaic neat. Pay attention to the flow of the lines that the rows create. The tiles in the body of the fish here have been laid in diagonal rows,
but the tail is made up of horizontal rows; this helps to define the image
and creates movement in the piece. To create the illusion of water, alternate between shades of blue, and lay the tiles in wavy lines as seen here.
Once the mosaic is complete, put a piece of blank tracing paper over the
tiles and use a smooth roller, such as a brayer or jar, to gently embed them
into the slab of clay. Then remove the tracing paper, and bake according to
the manufacturers directions. Once the piece is cool, finish with two coats
of matte varnish.
Variations
Like all surface techniques, this one could be used to ornament many
different objects. Glue your plaque to a plain journal cover, clock case, or
vase. Want to wear it as a brooch? Add a pinback (first clean the metal
with alcohol, roughen it with a nail file, then glue it to the plaque with
cyanoacrylate glue). Make a mosaic disk to fit commercial bezels for a
pendant, earrings, ring, or brooch.
I work wet-on-wet, but that isnt the only way to make polymer clay
mosaics. Some artists place prebaked tiles ranging from tiny threads to
substantial pieces on top of unbaked clay. And some artists make canes
that look like mosaics.
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or a porch.
Materials
basic polymer clay equipment and supplies
(see page 15)
bone folder
paint palette
20-gauge wire
cotton swabs
tracing paper
pasta machine
tooling foil
Transparent Liquid Sculpey (TLS)
Sculpey Diluent
rubber stamp
chime tubes
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Getting Started
Design shapes for the foil accents that will be applied
to the body of the wind chime by sketching ideas on
tracing paper. Then cut them out to make flexible
templates that can be easily used on a curved surface.
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With a pencil, trace the templates of the foil accents on the body of the wind
chime. Then carve decorative lines around the shapes and other areas of the body
using a linoleum cutter. Fill the carved lines with conditioned clay in a contrasting
color. Remove any excess clay using a bone folder, cotton swabs, and isopropyl alcohol. Bake following the manufacturers directions. Once the clay has cooled, carve
more decorative lines between the filled lines. Leave the new lines unfilled.
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Fill three sections of a paint palette halfway with TLS. Thin with TLS
diluent according to manufacturers directions. Tint the TLS by mixing a
small amount of metallic pigment powder into it. (More powder will yield a
more opaque color and less powder a lighter, more translucent color.) Brush
a layer of colored TLS onto the embossed foil shapes, and let it settle into
the recessed areas. The brush can be cleaned with turpentine, paint thinner,
or isopropyl alcohol. Bake the foil, TLS side facing up, for 20 minutes following the manufacturers directions. Once theyve cooled, decorate them with
acrylic paint. Then use E-6000 glue or similar two-part adhesive to attach
the foil accents to the body of the wind chimebut make sure you follow
the glue manufacturers directions exactly. Apply a fairly thick layer of glue
on both the foil piece and the body, wait about 10 minutes, then press
them firmly together. Remove the body of the wind chime from the jar.
TIP
Once the foil is coated with TLS, the colored surface can be easily wiped away, before
curing, to reveal the silver metal underneath. Try wiping only the raised areas of the
accents to make them stand out. Use a dry paper towel wrapped around a finger to
remove the color.
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Roll some clay through the pasta machine on the third thickest setting. Cut
shapes from the sheet of clay, and bake them on a flat or curved surface,
such as a jar, for 30 minutes. Once the dangles have cooled, decorate both
sides using the same techniques described in steps 2, 3, and 4 for decorating the body of the wind chime. Also make some dangles entirely of foil.
Apply water-based satin varnish, such as Flecto Varathane Diamond Elite,
to all areas of baked TLS to prevent scratches. Then drill a hole about 14"
(6 mm) from the top edge of each dangle. Also drill a hole for each dangle
or row of dangles on the bottom edge of the body of the wind chime. Next,
attach the dangles at various lengths using nylon or heavy cotton thread.
Measure the diameter of the wind chime body, and cut a length of
20-gauge wire twice as long. Using round-nosed jewelry pliers, bend V
shapes in the wire to hold each chime tube in place. The tubes should be
positioned far enough apart to hang separately when still, but close
enough together so they chime when moved gently. Drill two holes in the
top of the body directly opposite from each other. Thread the ends of the
wire through the holes and bend the ends to secure. Clip off any excess
wire. Next, hang the chime tubes from the wire using nylon or heavy cotton thread. Make a wind catcher by hanging one of your large foil dangles
through the inside of a chime tube so it is about 2" (5 cm) below the bottom of the tube. To hang the wind chime, first drill four equally spaced
holes in the body of the wind chime, about 14" (6 mm) from the top edge.
Then, thread a piece of nylon through two of the holes, directly opposite
each other, and tie securely. Repeat the procedure with the other two holes
to create an X. Finally, cut another piece of nylon, and tie one end to a
large metal ring; tie the other end around the center of the X.
Variations
Try using the construction technique described here to build a mobile, such
as a suncatcher. Use translucent clay for the dangles, then carve and backfill to create an opaque pattern. When sunlight hits the clay, the interplay
between dark and light will be charming. Experiment with dangles of varying thickness, different shapes and sizes of carving tools, and clay inclusions such as glitter. Be sure to sand and buff the baked clay for the most
translucent effect.
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Getting Started
Materials
basic polymer clay equipment and supplies
(see page 15)
masking tape
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cotton swabs
bone folder or spoon
scissors
pasta machine (optional)
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TIP
If a pasta machine isnt available, roll the clay
to the thickness of a computer diskette. Place
diskettes to the left and right of the clay, and
tape in place. Roll over the clay and diskettes
with a rolling pin or brayer.
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Variations
Use rubber stamps to make impressions on the unbaked clay covers. After
baking, apply acrylic paint with a dampened paper towel. Not all brands of
acrylic paint work well on polymer clay; a few that do include Plaid Folk Art,
Delta Ceramcoat, and Liquitex paints, available at most U.S. craft-supply outlets. For a slate effect, apply white paint to black clay. Wipe away excess, leaving some paint in the recessed rubber stamp impressions for a patina effect.
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Laminated Boxes
This project highlights the compatibility of
polymer clay, rubber stamping, and paper arts
supplies. The Chinese take-outbox seen here
was made using a simple one-piece paper
foundation that was laminated with decorated
clay. First the sheets of clay are textured with
sandpaper, then theyre painted with artists inks
to create vibrantly colored patterns.After the
paint is dry, the unbaked clay can be cut apart
and arranged in various ways, such as the
delightful striped pattern on this take-out
box. These miniature treasures make cherished
photocopier
pasta machine
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Getting Started
Materials
small paintbrushes
chambered watercolor palette
soft makeup brush
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E N H A N C I N G T H E S U R FA C E
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clay sheet from the cardboard. Remove the sandpaper and plastic wrap. Now the clay is ready to
decorate. Use brushes, stamps, or sponges to
apply inks, let dry, then apply additional ink or
painted accents. Use ink sparingly; if applied too
heavily, it will collect in the recessed areas of the
clay surface. Pearlescent and metallic colors were
used on these boxes.
TIP
Inks can be dried more quickly with a hair dryer. Just be sure to use a cool setting.
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Next, apply one piece of double-sided mounting tape to each of the four box flaps, close to,
but not on, the areas that will be folded. Trim
any excess tape. To construct the box, remove
the protective cover strip from one flap. Fold the
flap and the whole panel toward the inside of
the box. Then fold the adjacent panel toward the
inside of the box, bringing the edges of both
panels together. Make sure theyre aligned, then
press them firmly together. Repeat with the remaining flaps.
its flush with the box. Bake following the manufacturers directions for the clay, and let cool.
To make the handle, drill holes on opposite
sides of the box. Thread the ends of a pretty paper
cord from the outside into the holes, then knot
the ends of the cord on the inside of the box.
Variations
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Almost Alchemy:
The Story of Precious Metal Clay
When I first heard about Precious Metal Clay (PMC) I thought I had
It was only after working with PMC for those first six months
The bead had a look to it, a deeper texture than you could get
metal clay jewelry is the vestigial clayness found in the best PMC
with any metals technique I knew, and a resonance with its com-
its recent history as clay but distinguish it forever from cast or fabri-
fixed. The rest, as they say, is history. Like most people I didnt
PMC. They are excellent companions. The pure silver adds aesthetic richness and, since its precious metal, actual value to the
polymer. Polymer clay, for its part, offers PMC the glory of color.
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Chapter 6
Precious Metal Clay
Basic Techniques
This revolutionary new material was invented by Mitsubishi Materials Corporation of Sanda, Japan. It consists of three ingredients: tiny particles of pure silver (or
pure gold), water, and an organic binder. When its
wet, or fresh, its claylike and malleable and can be
sculpted, textured, rolled, pushed into a press mold, or
draped around a kernel of cereal to create a hollow
form bead. When its s air dried or leather-hard, it can
be carved, cut, filed, drilled, and joined to make complex forms. When PMC is fired in a small electric kiln,
the water evaporates, and the binder burns away.
The material shrinks as the metal particles fuse together, sharpening the surface detail, leaving an object made of pure silver. PMC comes in lump form (silver and gold), paste
(or slip), and sheet. It also comes prepackaged in a syringe and can be extruded to ornament a surface. Several related products are in development.
This chapter covers the basic techniques for working with PMC. I have also included
many tips and techniques that I have discovered and developed while using this unique
material. The projects that follow range from simpler beads and earrings to more elaborate
frames and pendants. I hope that they provide inspiration and a useful base of techniques
on which to build your own designs.
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Composition
Storage
Store PMC tightly wrapped in plastic, in its original package, and in airtight plastic bags with
folded-up wet paper towels inside. Refresh the
paper towels on a regular basis, especially if you
live in a dry climate. If you discover that a package of clay seems dry when you push your finger into it, take a bit of sponge or paper towel,
dampen it, and put it in the package under the
tightly wrapped PMC.
Rehydrating
To rehydrate rock hard PMC, stab holes in it
with a needle tool, then run it under the tap (or
use distilled water) for 30 to 60 seconds.
Rewrap it tightly in plastic along with a tablespoon or two of water. In several hours it will
reabsorb the water and give slightly to the pressure of your finger. Repeat the above process,
but instead of running it under water, stab holes
in it, then wrap it tightly with some water in
with the clay. You may be able to knead the clay
at this point, or you may need to repeat the first
steps one or two more times. Once you have
some experience with PMC, youll be able to
recognize a good working consistency, and remember that you can always turn clay into slip
by adding extra water.
Forming
Rolling out PMC: As a general rule, if you flip
your PMC over every three or four rolls, it is
much less likely to stick to your work surface.
Water versus oil: What to do about cracking PMC?
When closing a joint in fresh PMC, or joining one fresh piece to anotherlike an embellishment to a beadyoull need to add a bit
of water. After youve made the joint, its
helpful to smooth it over with an oiled finger
or oiled brush handle. Experiment, and youll
soon know when you need to switch from
water to oil. Too much water will make mud.
If this happens, wait a few seconds, then
smooth over the wet spot with an oiled finger.
Balancing the moisture level simply takes
some getting used to. Keep your water and
your oil within reach.
Tenting
If your PMC is cracking, roll it out through plastic
or try tentingthat is, tearing off a large sheet
of plastic and working under it. Put a barrier up
to protect your work area from any breeze. Or,
try rehearsing a particular design in scrap polymer
clay until you can work a bit faster.
Top left: PMC Plus; top right: Standard PMC; below: PMC Sheet.
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F
P
K
E
I
H
O
G
M
R
A small airtight container (C) is another essential for storing slip. A plastic film canister will do, but small round pill containers
with attached tops are even better. They
are typically sold in twos, giving you one
for PMC Plus and one for standard PMC.
PMC Plus is grayish white, whereas stan-
162
Work surfaces
Many materials can be used as a work surface
for example, glass, marble, Plexiglas, acrylic, a
laminated place mat, or a plastic report cover.
Any smooth, nonporous surface will do. I use
Other tools
A small container (H) with a section of
kitchen sponge pushed into it, full of
water. You can use a paper cup trimmed
to 1" (3 cm) height. Keep the water level
high enough so that you can easily get
some water on the end of your brush.
Another small container (I), with a piece of
foam rubber in it, filled with olive oil. Olive
oil is specifically recommended because its
less likely to get sticky and rancid.
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Making Slip
Think of slip as glue. Its what youll use to assemble leather-hard parts and fill small cracks.
You can also apply it as a surface texture. Slip
needs to be thick. To test it, use the slip to attach one leather-hard piece to another, count
to 10, and turn the piece upside down. Slip
thats a good working consistency will hold the
pieces together.
Pinch a piece of fresh PMC clay off, and put it
on your work surface. Spritz it or pour a few drops
of water on it, and smear it with your palette
knife against the glass repeatedly. The material resists for a while, but then the two mix. The consistency youre aiming for is much thicker than paint
and could be likened to frostingthat is, it holds
peaks. Using distilled water will help eliminate
mold in the PMC. If mold forms, just scrape it off.
Save small scraps and shards to add to a slip jar.
Joining
Joining fresh PMC to fresh PMC requires a few
drops of water and then a bit of smoothing
over the joint until you can no longer see it. If
the clay is too wet, its beginning to crack, or
you arent making progress, put it aside to dry.
When its completely dry and easier to handle,
you can add clay, fill cracks, and smooth
rough areas.
Top left: carved polymer clay plates and bottom left: clay paper, and polymer clay plate from TearAway technique (by Celie Fago). Right: assorted found textures. Center: drywall sanding screen.
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Shown above: paper punches (A), shaped cutters for polymer clay (B), custom cutters made from carved polymer clay and brass (by Celie Fago) (C).
For a double-sided texture
Embellishments
This takes a bit of practice, but its worth it. Because youll be impressing both sides, start by
rolling the clay out to a height of 4 cards, and if
it seems too thin, go higher. Its also a good idea
to choose textures with low relief. Secure the
first texture to your work surface with a small
lump of polymer clay (or tape) at each corner,
and oil the texture well. Transfer the clay, with
the plastic wrap in place, onto the first texture,
and roll once or twice firmly across it. Place the
second, well-oiled texture carefully on top of
the clay, and roll once or twice across it. Check
the impression. Two-sided texturing is much
easier if the top texture is flexible. Then, its an
easy matter to check the progress of the impression by lifting up an edge.
Twisted wire
Spheres
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Spherical bails
After youve become proficient at rolling
spheres, try the following technique for making
a spherical bail. The word bail refers to that part
of a piece of jewelry that connects a pendant to
a chain. For the following technique to be successful, you must use copious amounts of oil.
Have ready the following: a needle tool, a large
wooden knitting needle (or a sharpened pencil
or other large tapered tool), olive oil container,
and a scrap of foam. Follow the preceding instructions for making a sphere, but start with
more clay and make a larger ball. Cut a circle of
clay, and roll it swiftly into a smooth ball. Place
it in your palm while you oil your needle tool.
Make a hole through the center of the ball
using a turning and pushing motion, while
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RING CHART
Ring Size
with a hand drill, Dremel, or flex shaft. For either material, clean up the hole in the sphere
when its leather-hard with a round needle file.
Ring Sizing
In the Ring Project, a simple technique is described for sizing a ring for a particular finger.
Ring sizing is an inexact science. Ring sizes refer
to several competing systems, and your finger
size fluctuates over time. The following numbers assume a ring of average thickness116"
for small sizes and 18" for larger (1.5 mm for
small sizes and 2 mm for larger) and a width of
about 14" (5 mm). If your ring will be very wide,
add a half a size to your calculations.
There are two ways to use the ring chart. If
you have a ring sizer, find the size you want,
match it to the ring sizes in the left hand column
and follow it across to the type of clay youre
using. If you dont have a sizer, wrap a piece of
paper around the middle knuckle of the finger
for which youre making a ring. That millimeter
measurement is the size your ring should be after
firing. Match that number to the numbers in the
second from the left column (metal). Now follow
across to the number in the column for PMC or
PMC Plus, and cut a strip that length in fresh clay.
Generally, PMC Plus is the better choice for rings.
Metal (mm)
PMC (mm)
44.6
50.7
61.9
2 2
45.8
52.0
63.6
47.1
53.5
65.4
3 2
48.4
55.0
67.2
49.6
56.4
68.8
4 2
50.9
57.8
70.7
52.1
59.2
72.4
5 2
53.4
60.7
74.2
54.6
62.0
75.8
Mandrels
6 2
55.9
63.5
77.6
57.1
64.8
79.3
7 2
58.4
66.4
81.1
59.7
67.8
82.9
8 2
60.9
69.2
84.6
62.2
70.7
86.4
9 1 2
63.4
72.0
88.0
10
64.7
73.5
89.9
10 2
65.9
74.8
91.5
11
67.2
76.4
93.3
11 2
68.5
77.8
95.1
12
69.7
79.2
96.8
12 2
71.0
80.7
98.6
Firing
13
72.2
82.0
100.3
2
1
FIRING CHART
temperature
1650 F
900 C
two hours
1830 F
1000 C
two hours
1650 F
1560 F
1470 F
900 C
860 C
800 C
10 minutes
20 minutes
30 minutes
time
Warpage
Once PMC is in the kiln, gravity will flatten most
warps. Any additional flattening can be done
after firing by placing the piece on a bench
block or other flat surface and using the heel of
your hand or, failing that, tapping with a
rawhide or plastic mallet.
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Bedding materials
Alumina hydratea fine gray-white powder used in ceramic studios (It discolors
slightly with use.)
Vermiculitea soil additive that is a form
of mica
Pieces ready for the kiln on a kiln shelf: top left, spherical PMC bead in a bed of vermiculite; top right,
flat pieces directly on the kiln shelf; bottom right, ring on a layer of alumina hydrate; bottom left, flat
piece directly on kiln shelf.
The lower temperature offers exciting possibilities that have yet to be fully explored; glass
and enamel powders that will discolor at the
higher temperatures will be more stable at 1470
F (799 C) and can be combined with PMC Plus.
Although the two clays can be mixed, standard PMC needs to be fired for the full 2 hours
to attain maximum strength. If you mistakenly
use standard slip to close a joint in a PMC Plus
object, and fire it for 10 minutes; the joint will
be weak. To rectify this, re-fire for a full 2 hours
at 1650 F (899 C).
Any kiln that will reliably maintain the set
temperature for the above duration can be
used, but the ideal choice is a small kiln with
a programmable thermostat and a temperature controller designed for use with PMC.
Kilns designed for enameling and glass will
also work.
Firing Materials
Kiln shelves
Shelves make it easier to load and empty the kiln.
They also protect the floor of the kiln from meltdown accidents. Suggested materials include:
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Loose woolceramic fiber material available by the pound from ceramic suppliers
Safety note: Wear a mask when using these
products, and clean up spills with a dampened paper towel, not a vacuum cleaner.
These bedding materials can be piled directly on
to your kiln shelves, but they tend to spill off.
When firing rings, sprinkle alumina directly onto
the kiln shelf and place the ring on the layer of
alumina. Contain beads and other volumetric
forms in a terra-cotta dish or carved out firebrick.
Once the binder has burned away (in the first
2 hour), but before the metal particles have
fused together, the PMC pieces are susceptible
to gravity. Place your pieces in the dish with the
heaviest part at the bottom. For example, the
point of a cone should be buried in the bedding
material; the open end should be up.
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Steps in finishing PMC: from left to right, fresh from the kiln; brass brushed; blackened; highlighted by polishing.
with a high-fat content that will cause smoking during the first part of the cycle. Theyll
burn off harmlessly within a few minutes, but
its important to leave the kiln door closed.
(Check with the PMC Guild for information on
firing services.)
Polishing
Polishing choices occur along a continuum, with
matte (right out of the kiln) at one end and
shiny (or highly polished) at the other. If you
looked at matte white silver under a magnifier,
youd see the top surface is made of countless
peaks and valleys that trap light, creating what
we know as a matte surface. Polishing
smoothes out these peaks and valleys, causing
light to bounce backwhat we know as shine.
The degree of shine and the type of finish are
personal choices, but its recommended that
freshly fired pieces be polished or burnished
until they no longer appear white. Fine or pure
silver doesnt tarnish, but if its left it its white
state, it will trap dirt and dust and appear dingy
over time.
Antiquing
Finishing
Fresh from the kiln, all PMC pieces appear to
be a matte white color. This color isnt a coating or residue, its simply the color of the unpolished metal. The highly reflective shine
usually associated with silver is the result of
polishing; the color of silver is the reflection
of light.
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Shown here on a pine pillow: a leather-hard PMC piece partially carved, and a fired and finished carved PMC piece. Below, a leather thimble, linoleum carving tool with custom polymer clay handle (by Celie Fago), and two wood carving tools.
Highlighting
168
Carving PMC
Pushing a tool through polymer clay doesnt require much effort. But because PMC has metal
in it, it offers resistance to the carving tool and
requires a bit more force. To protect your holding hand from the force of the carving tool, use
a leather thimble (from a quilters supply) like a
catchers mitt on one of the fingers of the hand
P O LY M E R C L AY A R T
holding the piece. Drive the tool across the surface of the PMC into the finger thats wearing
the thimble.
Standard PMC, because it has more binder in
it, carves cleanly, without chipping. PMC Plus,
because of its higher silver content, is a bit more
challenging to carve.
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STEPS
1. Roll out conditioned polymer clay to a
number 1 or 2 on your pasta machine
(use thickest or next-to-the-thickest setting). Cut a piece a bit larger than your
intended image, and place it on a
portable surface that can go into the
ovenfor example, plate glass, an oven
tray, or wax paper.
2. Place the photocopy face down on the
clay, and fold a corner up to use as a
tab. Burnish the copy onto the clay
* For further study, see Gwens video Ancient Images. See the resources section for
more information.
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Chapter 7
Creating with
Precious Metal Clay
The following projects are designed to demonstrate
the range of possibilities of Precious Metal Clay (PMC),
an array of different techniques, and how to successfully combine polymer clay and PMC. Each project also
provides general skills and specific tips with the idea
that youll ultimately transform this information to suit
your own working style.
The maple leaf earrings (on page 184) not only
illustrate the use of texture but the concept of using
shrinkage as part of composition. The ring project (on
page 176) provides an easy method of sizing rings and
closing joints and introduces simple, elegant ways to use PMC Sheet. Beauty and function
combine in the toggle clasp project (on page 172), which can add a personal touch to an
old necklace or complement and complete one of your own creations. The frame project
(on page 188) is a wonderful example of the marriage between polymer clay and Precious
Metal Clay; it uses polymer as a texture, as an image to frame, and as a decorative support
for the frame itself. The celestial spheres project (on page 180) shows you how to create a
hollow form bead using a combustible core and then applique small embellishments onto
the bead. The box pendant (on page 192) is a more challenging project. It teaches precision, the use of noncombustible support forms, and the challenges of working with
leather-hard PMC.
These projects are meant as a starting point: Experiment as you work, and dont be
discouraged by mistakes, because youll make discoveries, as well. Remember, PMC is a
new materialand the possibilities are truly limitless.
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Getting Started
Materials
basic Precious Metal Clay equipment and supplies
(see page 162)
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Cut four more segments from the PMC Plus rope, each about 4 mm
long, and roll them into balls. (For other methods, see Embellishments on
page 164.) Set the balls on foam rubber, and allow them to completely dry.
Then, holding the balls flat on a table and firmly in the jaws of chain nose
pliers, drill holes through two of the balls with a 116" (1.5 mm) drill bit, a
Dremel or a flex shaft, to accommodate the jump rings that will be used to
attach the toggle to a chain. (Image shown features a larger bead; actual
sphere for this project is smaller.) Clean up the holes with a round needle
file. Refine the circle and bar with nail boards and/or sandpaper (320, 400,
then 600 grit), and fill any cracks with slip. If there are large cracks, brush
them with water, and then push PMC Plus right out of the package into
the cracks.
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See Making Slip on page 163. Affix the two undrilled balls to the
ends of the carved bar. Attach one of the balls with a hole to the middle of
the bar as seen here, and set it aside to dry. Then, attach the other drilled
ball to the outer edge of the carved circle, as seen here, and set it aside to
dry. These attachments need to be well secured with thick slip, checked for
gaps when dry, and refilled where necessary to ensure a structurally sound
toggle. Fire flat on a bed of alumina hydrate or vermiculite. (See Firing on
page 165.) Scrub with a brass brush, and finish as desired. Finally, attach
the toggle to a necklace or bracelet using jump rings.
Variations
The toggle on the left was carved using the method described above. The
wiggling snake functions as the bar in this variation. The snake with its tail
in its mouth, an age-old symbol of infinity, serves the function of the circle.
The heart and arrow toggle is made from clay that has been textured on
both sides and cut out with a heart-shaped cookie cutter. The arrow shape
was cut by hand with an oiled tissue blade.
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PMC Sheet.
Getting Started
Materials
basic Precious Metal Clay equipment and supplies
(see page 162)
copy paper
clear tape
ring mandrel
1 PMC Sheet
brass brush
paper scissors
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Cut a piece of copy paper into a rectangle about 3 12" x 1 34" (9 cm x 5 cm). Wrap
the paper around the middle knuckle of the
finger for which you want to make a ring,
then use clear tape to close it. This is the size
you want your ring to be after firing. Since
PMC Plus shrinks 12 percent during firing,
its necessary to add a millimeter of thickness
to the ring form. To do this, cut two or three
strips of paper and wrap them around the
ring form while its on your finger. It will take
seven revolutions of copy paper to add the
needed thickness. Next, wrap the whole
thing with a piece of Teflon paper, then use
clear tape to close it. If youre have trouble
getting the paper strips tight, try wrapping
the paper form with masking tape instead
of paper. (See Ring Sizing on page 165 for
alternative methods.)
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When the ring is dry, sand and true up as necessary. To true up your
ring, slide it back onto the paper form after removing one or two layers of
paper so there is still a snug fit. Position the ring so that it is protruding
slightly off the end of the paper form. Sand it on a piece of medium-fine
sandpaper (400- or 320-grit) laid flat on a piece of glass or other flat surface. Sand both edges in this way, then smooth any flaws in the rest of the
ring. Smooth the inside by rolling a piece of 400-grit sandpaper to a size
that moves freely in the ring. Proceed to 600-grit and then to 1000-grit if
desired. Set aside.
Using hand punches, cut out spirals, hearts, or other shapes from the
PMC Sheet. Shapes can also be cut freehand using a craft knife or a protected tissue blade to make your ring design unique. Cut strips from the
PMC Sheet with a wavy blade to complement your design. To attach the
cut pieces to the ring, lay the shape in the desired place, then run a bead of
water around it using a paintbrush. Press gently to attach. Another way to
attach the cut pieces is to dampen a spot on the ring and press the piece
onto the wet area. If the piece becomes too moist, or if you try to move it
once it has been attached with water, it will tear.
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Fire the ring upright on a kiln shelf that has been sprinkled with
alumina hydrate. The alumina will reduce friction as the ring shrinks and
ensure that it doesnt end up bigger on the bottom than the top. If it does
become misshapen in the kiln, you can tap it back in to shape by slipping
it onto a ring mandrel and tapping it with a rawhide or plastic mallet. (See
Firing on page 165.) Scrub with a brass brush, and finish as desired.
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Variations
Freehand Designs and Texturing.
Cut a strip of PMC Sheet, long enough to encircle your leather-hard ring.
Using a craft knife with a new blade, cut out a pattern of interior shapes.
The featured ring on the top shows a pattern of leaf shapes that were cut
using this method. You can practice your design on a sheet of paper. If
your rings circumference is greater than the length of the PMC Sheet, use
two or more sections to encircle the ring, making the seams a part of the
design or abutting the ends, letting it dry and carefully filling in the seams
with slip until they are invisible.
Follow the directions for making the ring described in the main project.
Then, to adhere the strip to the leather-hard ring, first quickly paint the ring
with medium-thin, lump-free slip. Let the ring dry and reinforce any gaps
as necessary with slip or water. Fire, scrub with a brass brush, and finish.
The cut-out shapes on this ring (bottom) were attached to a leather-hard
textured ring. Once fired, the cut-outs fuse to and take on the shape of the
rings surface, adding an additional element of texture and dimension.
TIP
To make thicker paper, which creates a more dramatic relief for your ring design,
spray one PMC Sheet with a fine mist of water. Wait 5 seconds then place a second
PMC Sheet on top, and press gently. Allow to dry, then use it as you would any
PMC Sheet.
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Materials
Getting Started
To sand a round shape without developing any flattened areas, fold the sandpaper to form a curved
trough. Then, sand using a back-and-forth motion,
and rotate the object frequently in the trough.
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Once the beads are dry, remove the skewers. If the skewers dont
come out readily, cut off the ends with wire cutters so the ends are flush
with the surface of the beads. The remaining wood left inside will burn out
harmlessly during firing. Then, nestle the spheres into a bed of vermiculite
or alumina hydrate in an unglazed ceramic dish. Leave the top third or so of
the spheres protruding above the surface of the vermiculite or alumina hydrate. Put the dish onto a shelf in the kiln, and fire at any of the three firing
choices for PMC Plus. (See Firing on page 165.) Scrub with a brass brush,
and finish as desired. (See more on finishing on page 167.)
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Variations
Embellishing with shards and slip.
Try using shards left over from other projects, such as the carved toggle on
page 172, to decorate beads. Follow the directions for making beads described above, let them dry, then refine them. Gather leftover shards onto a
piece of plastic wrap. Paint the bead with thick slip, then gently roll it in the
pile of shards, guiding it along with the skewer handle. Its easy to fill in any
bare spots later, when the bead is leather-hardjust paint the bare areas
with thick slip, and fill with more shards. Dry and fire as directed in the main
project. You can also combine shards and appliqu pieces in one design.
To learn about other types of appliqu, see the ring project on page 176.
To make slip-covered beads, follow the directions for making beads
described above, let them dry, then refine them. Then, paint thick, lumpy,
slip over the beads until you are satisfied with the surface design. The best
effects are achieved with very thick slip.
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Getting Started
Materials
basic Precious Metal Clay equipment and supplies
(see page 162)
chain-nose pliers
standard PMC
texturing materials
conditioned polymer clay in 3 or 4 colors
If you are using a rigid texture, put the PMC onto the
oiled texture.With netting or other flexible texture, it
is easier to put the texture on top of the PMC. First,
roll the clay out and transfer it to a piece of Teflon.
Then, lay the oiled flexible texture on the clay, and go
over it with a roller.
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Once the PMC is leather-hard, hold the two earrings together and run a nail board or sandpaper,
held perpendicular to the outside edge to refine,
and to match, the two shapes. Using a hand drill
with a 116" (1.5 mm) drill bit, make a hole in both
shapes near the tops. Make sure you leave
enough distance between the hole and the edge
of the earrings so that after firing and shrinking
it will not be weak. For the featured maple leaf
shape, the hole should be 18" (3 mm) from the
top edge of the earring. Dry the shapes.
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See Firing on page 165. Fire flat on the kiln shelf. Unload the kiln
following the usual procedure, and scrub with a brass brush (see Polishing
on page 167). Then, lay the earrings over a curved surface such as a ring
mandrel (available from jewelry supply companies). If you dont have a ring
mandrel, use a dowel or your PVC roller. Gently push the pieces into a curve
against the mandrel, or tap with a rawhide mallet. Repeat with second
shape. Finish as desired.
You may bake the shapes flat or, if a curve is desired, put a drinking glass
or coffee cup on its side on a baking try. Balls of scrap clay strategically positioned on either side of the glass will keep it from sliding around on the
tray. Gently press the earring shapes on to the glass. If the amount of powder residue on the earring backs prevents them from sticking, put a
smidgen of hand lotion on the tip of your finger and wipe the powder off
the back of the earrings and try again. Bake according to manufacturers directions. The low heat needed to bake the polymer clay wont affect the
glass. Once the pieces have cooled, sand them with 600-grit and then
1,000-grit sandpaper, if desired. Buff with a cloth or on a polishing lathe set
up for polymer clay. Drill a hole with a 116" (1.5 mm) drill bit near the top of
the pieces. Finally, assemble the earrings by threading the earwires through
a PMC and a polymer clay piece.
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TIP
Put an extra piece of clay, the same brand and thickness as your earrings, in the
oven for the duration of the baking cycle. When its cool, try to break the extra piece.
If it breaks, you know your earrings need to bake longer or at a higher temperature.
Experiment with these two variables to make durable earrings.
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Variations
These earrings were cut out with a custom-made tool. The tool was made
by bending 24-gauge brass sheet into a leaf shape and then baking it in a
polymer clay handle. The handle was then sanded and carved. Try pressing
a small metal cookie cutter into a ball of polymer clay. Bake it according to
manufacturers directions, sand, and then carve it. The leaf earrings pictured were made with Premo clay and carved with a 1.5 mm V-gouge,
micro-carving tool.
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Getting Started
Materials
basic Precious Metal Clay equipment and supplies
(see page 162)
five-minute epoxy
hammer
cotton batting
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ing in the center of the frame. Trim the outside edges of the frame and position those
pieces around the opening, or trim and position only two of the outside edges, leaving
the other two as is. Attach the trimmed
pieces to the frame with a few drops of
water. Let the frame dry.
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Fire the piece flat on the kiln shelf (see Firing on page 165). Brass
brush, antique and polish the surface as desired. Scrub the back of the
frame well with steel wool, sandpaper, or a brass brush until glistening
clean in preparation for gluing. (See Finishing Techniques on page 167.)
To create a finished look on the back side of the frame, first roll out some
polymer clay to about the height of the transfer inset. Texture the surface as
desired. Drywall sanding screen was used here. Using a tissue blade, cut
thin strips from the clay sheet, long enough to enclose the back of the
transfer inset. Apply TLS to the edges of the transfer inset, and abut the textured strips to make a frame. To make a spot to sign or carve your name,
cut out a 12" (1 cm) long square from the middle of the bottom strip. Flip it
over so the smooth side is facing up. Dab the edges with TLS and reposition
it in the same spot. Make sure the bottom strip extends to the bottom edge
of the PMC frame.
Next, make two 38" (10 mm) square cubes of polymer clay. Use a 3" (8 cm)
wire to poke a hole about halfway into one side of each cube. Position the
hole one-third of the way up from the bottom of the cube. Then, position
the cube along the bottom edge of the polymer clay strip, and affix with TLS.
Bake the entire frame assemblage on cotton batting, face down, according
to the polymer clay manufacturers directions. Let cool. Sand polymer if desired.
To assemble the frame, first use a craft knife or needle tool to roughen all
surfaces to be gluedthe part of the frame back and the part of the polymer
piece that will be glued to each other. Then clean all surfaces by swabbing
with alcohol. Prepare five-minute epoxy according to manufacturers instructions. Glue polymer clay assemblage to the back of the PMC frame. To make
the frame stand, bend the 3" (8 cm) wire into a U-shape loop, and poke the
ends into the holes in each cube. If the wire ends dont fit snugly, remove and
place them on a bench block or other metal surface, and tap them with a
hammer to flatten. Keep tapping and testing, until you get a snug fit.
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Variations
Turning a Frame into a Pendant.
Its easy to turn a delicate frame like this one
into a pendant. The quickest way is to add holes
for jump rings (see above, right). Before the
PMC has dried, use a small straw or metal tubing to poke two holes into the top edge of the
frame. If the clay is leather-hard, use a hand drill
with a 116" (1.5 mm) bit or a Dremel tool. For
both methods, reinforce the holes with doughnuts of fresh clay attached with slip.
To make the doughnuts, first roll out PMC,
through plastic wrap, to a height of two cards.
Use the same small straw or metal tubing you
used on the frame to cut out circles of PMC.
Then, use a smaller straw or tube to cut and remove the centers of the circles. Paint some slip
around the holes on the frame, and position the
doughnuts over the holes. Press into place, and
clean up any excess slip with a clean brush. In
this pendant, the holes were reinforced with
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Getting Started
Materials
basic Precious Metal Clay equipment and supplies
(see page 162)
five-minute epoxy
texture sheets
photocopier
graph paper
jewelers saw
tweezers
cereal box
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TIP
NOTE
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Make a noncombustible
support form.
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Check the fit of the pieces and sand as necessary. Then, paint a line
of thick, smooth slip on the back piece, along one side and along the top.
Paint slip on the ends of one side piece and the top piece, then position
them on the back piece, with tweezers or your fingers. If your slip is the
correct consistency, these two pieces will stand up without support. Hold
the pieces steady while you remove excess slip from the outside edges with
a clean brush. Allow the assembly to dry completely. Attach the other 14"
(6.5 mm) side piece and let dry. Reinforce the seams as necessary from the
inside, and let dry. Attach the border for the frame opening to the front
piece, and let it dry. Then, attach the front piece to the three-sided assembly, and let it dry.
The bottom 14" (6.5 mm) piece, which will be fired separately, needs to
be sized now. Try the fit, and sand as necessary so that it is a little larger
than the space for it. You can easily file it down after its fired, but it is a lot
harder to add material if the box bottom is too small.
TIP
The bail hole can be oriented parallel to the pendant, as seen here, or perpendicular
to the pendant.
Slide the image into place, adding rolled-out strips of polymer clay
behind the insert to fill up the area and so theres more surface area for
gluing the 14" (6.5 mm) bottom piece on after baking. Bake the whole
assembly according to manufacturers directions. Remove the polymer to
sand and buff if desired, then glue it in, and the bottom piece on, using
five-minute epoxy.
Make a pencil mark at the center of the top of the box. Attach
the bail to this spot with enough thick slip so it squeezes out into a
flange around the bottom of the bail. Let it dry.
Next, miter the ends of the twisted wire pieces so they meet neatly at
each corner, trimming the top section as necessary to account for the
bail. To miter an end, hold one twisted wire length close to the end, at
an angle, and rub it gently back and forth against 320-grit sandpaper.
Attach the three twisted wire sections to the box using slip, and let dry.
Attach the last wire to the bottom 14" (6.5 mm) piece using slip, and let
dry. Reinforce as necessary. Attach a ball to each corner with slip.
Center the support form inside the box and place it, along with the
4" (6.5 mm) bottom piece, in a bed of alumina hydrate or vermiculite,
and fire. (See Firing on page 165.) Once cool, remove the support form,
and finish as desired.
1
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Chapter 8
A BIRD WITH TEETH
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1/8
1/8
1/8
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Safety pin
Taped-point clay shaper
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7 From this point on, working on the beak will be easier if you attach it to the body
of the bird. Stick the beak to the body horizontally. Whether you will make a highbrow or
a lowbrow bird depends on how high on the body you place the beak. Putting it in the
upper part leads to a lowbrow bird with a belly. Gently push the top of the beak down.
(This feature of the bird is probably the only one that bears resemblance to an eagle.)
9 Use the safety pin again to widen the distance between the
jaws. Try to make a hole in a sideways, teardrop shape. You will
put the teeth in this space.
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the bird.
13 Roll out two small balls of white polymer clay for the
eyeballs. For the eyelids, roll out two colored balls approximately
the same size and a color darker than the beak. Squash the
colored balls flat. Dont make perfect spheres, though. You want
a slightly elliptical shape, so start with an elongated ball. Wrap
the ellipses around the eyeballs, so that they cover half of the
circumference and the rim sticks out, sort of like a baseball cap.
You can see the making of the eyes in the photo above.
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the bird.
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Using the safety pin, poke two deep holes into the eyes, one in the belly, and two on top
of the beak. For the nostrils, pull a little bit to the sidethe holes dont need to be perfectly
round. Also, roll out two tiny strips of black clay, and put them on top of the eyelids to be
the eyebrows.
19 Turn the bird around. Now you need to give it eyes that see, a nose to breathe
with, and a belly button. (Have you been wondering what an ordinary bird is doing in a
book of fantasy characters? Well, it is the belly button that merits his inclusion.)
MAKING EYES
Where to put the hole on the eyeball is a very important decision. Here are a few of the
possible options:
Dizzy
Looking left
Normal
Stunned
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TIP
White or Glow-in-the-Dark?
When you make the eyes and teeth, use glow-in-the dark clay instead of plain white polymer clay.
The typical white is too white, and eyes and teeth usually have some translucency to them. Glow-inthe-dark clay not only lacks that undesirable opaqueness, but it also gives your creatures life after
dark. For the best night results, after you have baked your bird, use a safety pin to fill the eyeholes
with raw black polymer clay. Then turn the lights off, and observe.
Variation Ideas
Penguin
Scared bird
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The goal of this project is to teach you how to make a basic rabbit.
Once you master that skill, the transition to an Easter Bunny will be
quite easyyou only have to put an Easter egg in the rabbits hands.
The Easter Bunny will be made in a somewhat different order that the
bird. We start with the body and add the arms and legs later.
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1/8
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TOOLS
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M AT E R I A L S
3 If you paid attention to the imperfection argument from the first step, by now one
of the two ends should be slightly bigger than the other. This bigger end will be the torso
of the rabbit, whereas the smaller end will be his head. Slightly bend the torso of the
future Easter Bunny forwardthe direction in which the belly is rounder and where the
face of the critter will be.
Note: Stick the rabbits bottom to the work surface until it flattens, and leave it there, as
shown in step two. The figure should be able to stand without any props. Do not be
alarmed if it is unstable, because we will add legs and a tail later, which will serve as
additional support. This step is necessary because the upright position will be natural for
the rabbit, which means that the 8 wont be flattened and distorted as it might be if just
leave it lying, like an .
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TIP
Stickiness of Clay
When you work on a piece of clay, it warms up and becomes stickier, from all the kneading and the
temperature of your hands. The stickiness makes the bonds between the clay pieces stronger. Use that
property to make a critter that breaks less. Dont wait too long before you attach add-on parts to the
bulk of a critter, especially when you do not intend to blend the add-on shape with its surroundings
using a clay shaper, like you did with the little dome a couple of steps ago.
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28 Use the pin to make the hair. You need to be more energetic
with the pinstick it deeper and break the clay while drawing it out to
create the effect of hair. It is more important to create the impression of
small tufts than to focus on individual hairs.
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TIP
Fingerprintsor Why You Should NOT Try to Get Rid of Them
According to some people, fingerprints should be removed. However, fingerprints offer many positive things. First, most
creatures have a certain sort of texture to their surfacesunless, of course, we are talking about an alien, a frog, or a
porcelain vase. The fingerprints that you leave fulfill that function of creating a texture, which produces a more natural look.
A fantasy character does not need to look real, but it does need to look natural to a certain degree to be believable.
Second, you have to come very close to a creature to see the fingerprints. (But is this not the case with most thingsthe
closer you come, the more you see the imperfections? Its a natural phenomenon.)
Last, but not least, your fingerprint is your signature that can never be forged. By leaving your fingerprints, you give the
creatures identity in both the figurative and the literal sense.
Variation Ideas
Easter Bunny with a Basket, Easter Bunny with a Frying Pan
Easter Bunnies are, by definition, cute and must have an egg in their possession to distinguish them from
ordinary rabbits. Play with these two general truths to produce the maximum humorous effect. The Easter
Bunny with a basket pictured at right has gathered a few small eggs in his basket. The bunny in the
picture at right didnt quite get the idea and thought he could still be an Easter Bunny if he made fried
eggs. Also, if you look closely, all rules of symmetry are disobeyed, resulting in a rabbit that looks more
deranged than cute.
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C R E AT I N G F A N TA S Y F I G U R E S
213
A FIRE-BREATHING DRAGON
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TOOLS
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Tin foil
Wire cutters
Flat-nosed pliers
Needle or safety pin
Small tapered-point clay shaper
Small cup-round clay shaper
Small tube
A F I R E - B R E AT H I N G D R A G O N
M AT E R I A L S
TIP
About Armature
You dont need to spend too much time perfecting an armature. Armature is
only an approximation of a critters skeleton, not a clinical reconstruction of a
skeleton. It is perfectly fine to make a rough and asymmetrical structure, as long
as the deviations are small enough to be corrected by the clay coat afterwards.
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A F I R E - B R E AT H I N G D R A G O N
10 Cover the head loop until the neck and the head start looking like an upsidedown boot. Make sure that the heel stands out. We will next work on the headit is
much more rewarding to put wings and scales on a critter that already has a face.
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thus far.
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A F I R E - B R E AT H I N G D R A G O N
23 Wrap two pieces of glow-in-thedark clay into orange clay, put them in
the eye sockets, and poke two holes in
them with the needle to create the
dragons eyes. Next, still using the
needle, draw a curved line under each
eye to accentuate it.
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F I R E - B R E AT H I N G D R A G O N
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A F I R E - B R E AT H I N G D R A G O N
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A F I R E - B R E AT H I N G D R A G O N
TIP
Variation Idea
A Little Dinosaur
Dragons and dinosaurs are not all that different.
By using the basic principles of this lesson and
simplifying them, you are able to make this green
little wingless character whose ancestors roamed
the earth millions of years ago. It is nothing more
than a small green wingless dragon baby.
Type of bond:
Strength of bond:
Clay to clay
Strong
Finger to clay
Medium
Tool to clay
Weak
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THE WIZARD
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One of the most popular fantasy characters is the wizard; usually an old
bearded fellow with a pointy hat, a staff, and a magic crystal. Good or
evil, wizards always have a lot of personality. This is the image we will
try to capture in this lesson. The armature involved is quite simple, and
we will practice embedding foreign objects in clay characters. This is the
project in which we turn a marble into a magic crystal.
So put on your spellproof helmet, and lets
see what we can
conjure up with some clay,
a piece of wire, a bit from a
chandelier, and an old marble.
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TOOLS
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1/2
1/8
1/8
1/8
THE WIZARD
M AT E R I A L S
1/4
1/8
1/8
1 marble
1 hexagonal chandelier crystal/glass bead
15 3/4" (40 cm) 0.7 mm copper wire
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THE WIZARD
15 Next, we will make the mouth. Insert the needle deep into the center of the face, right under and at a
reasonable distance from the nose, leaving enough room for a big upper lip.
Using the tip of the needle as a lever, draw to one side and then the other to crack a smile on the wizards face.
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19 Out of the same black-and-white mixture, make a snake with pointy ends and
attach it under the wizards nose as a moustache. Our moustache is in a bowlike shape,
but you can have it in any configuration, as long as it doesnt stick out to the point that it
will break off once the critter is baked.
Add thick eyebrows, as shown.
20 To make an ear, start with an irregular disk of clay. Then cut into it with your nail,
as shown. Next, make a second cut vertical to the first one. Fold the clay along these cuts,
and with your fingers sharpen the upper end of the ear, as shown.
Pointy elements are quite important when it comes to fantasy characterspointy ears, pointy
hats, pointy shoes, pointy fingers, and so on. Experiment with any creature you are making
add some pointy elements and see how it somehow acquires a fairy-tale-like quality.
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THE WIZARD
28 Bend the sleeve into a 60degree angle, and sharpen the elbow with
your index finger and thumb.
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THE WIZARD
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THE WIZARD
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1/4
1/8
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TOOLS
Wire cutters
Needle or safety pin
Small tapered-point clay shaper
Small cup-round clay shaper
M AT E R I A L S
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4 Twist the wires perpendicular to the neck and the front legs, working toward the
rear legs. When you reach the desired length of this spinal cord, bend the two loose
ends down, fold them it half, and twist them back up to the horses lower back.
6 Once the armature is complete, we need to cover it. We will use just clay to create
the volume of the horse. You can also use tin foil, especially if you are running short of clay
or just want to make your horse lighter.
Using a piece of light brown clay, and proceed as shown.
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9 After all this covering with clay, the horse is a little flat
and lacking in volume. To correct this and create the
characteristic horse look, we will use the simplest geometrical
shapethe circle. Out of several balls of clay, squish a few
disksfour big ones for the horses shoulders and hind legs, two
medium ones for his cheeks, and two small ones for his nose.
Stick these disks on both sides of the horse, as shown.
Ideally, these disks should be thicker in the center and thinner
around the edges so that you can more easily blend them with
their surroundings.
10 In this close-up of the head you can see why horses run so fastclearly it is because their heads are apparently made of sports
cars! Whether you find this logic compellingly persuasive or not, you will have to hide the car in the horses head. To do this, gently
smooth the periphery of the disk into the surrounding clay with your fingertip.
Pinch the back of the head with your index finger and thumb to create the impression of ears. We will add real ears later, but sometimes
having a dummy body part on a critter helps you better see the direction in which things are going.
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19 A natural way of holding the horse while you work is by the torso (index finger on the back, thumb on the belly, or vice versa).
Unfortunately, this grip is likely to have flattened it excessively. Add another thick layer to the horses belly to make it a bit more swollen.
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Mythical Unicorn
Making a unicorn is a direct and natural
extension of the horse project, as we said earlier.
Just remember to put a piece of wire in the horn.
Relaxing Giraffe
Four-legged animals need not always be standing up. Here is an example of how to make a giraffe
sitting down in an almost human pose, using minimum armature. Notice how all his legs and tail are
close to the body to minimize the potential risk of breaking.
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Variation Ideas
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What the skeleton we will learn how to make in this project does best is
meditatethe process of going out into the woods, sitting under a tree
for seven years, and doing nothing but thinking. Our skeletons power
of concentration is so amazing that he even glows at night! Of course,
that might have more to do with the glow-in-the-dark clay we will
exclusively use in this project rather than with the skeletons brainpower.
We will learn first how to make a skull, and then we will explore the
possible ways of combining bones into a body. Skeletons can be
thought of as jigsaw puzzles, made up of hundreds of parts that need
to be put together. Our concern, however, is with a more stylized
skeleton, almost made of flesh and blood, so we will merge many of
these puzzle bits together.
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34 The first specimen of this type of skeleton was found after long and reluctant
archaeological excavations somewhere very far away. The pose in which he was found
suggests that he must have had interests other than meditation, for he was found in a
ballet position, making a victory sign with his right hand. Nevertheless, scientists were
able to decipher the map of his body and reconstruct him to the last detail.
We will use that same map to make our skeleton. Apparently, we need, all in all, six
bones, six toes, eight fingers, two balls for the kneecaps, two for the shoulders, and two
for the wrists.
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TIP
Variation Ideas
Bird Skeleton
This chubby bird skeleton is largely made following the bird lesson. The only alterations are the use of
glow-in-the-dark clay, the creation of deep eye sockets, and the use of a structure similar to that of the
skeletons feet for the wings.
Quadruped Animal Skull
Animal skulls are generally more elongated and have other bony bits protruding from their surface, such
as horns. Prominent cheekbones and excessively large teeth are a must. You can also put two holes in the
upper part of the forehead to make ear sockets.
Skeleton with a Ball and Chain
Making a skeleton with a ball and chain is a natural extension of the skeleton project. Creating the ball
and chain is essentially the same process as the one we used to make the knights mace. Be sure that the
leg bone to which the chain is attached is a little thicker, because it will have to host the wire attachment.
Ghoulish Gang
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1/2
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7 Perform an index-finger-and-thumb
8 After the vertical squeeze, make a horizontal one. Then, using the nose as an axis,
rotate the head, making a series of short squeezes, until you get a shape like this one.
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13 Using the round-cup clay shaper, prepare the ground for the eyes, as shown.
Repeat this action to make the ripples of clay for the bags under the eyes.
14 Using the clay shapers handle, open wide the critters mouth. Dont worry, he
wont be screaming the whole timejust until we give him a beard and moustache.
Make two eyes of glow-in-the-dark polymer clay wrapped in flesh or beige clay, and
insert them in their appropriate places.
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19 With the tips of your index finger and thumb, gently squeeze, as shown, to
create the pointy ends of the moustache. Then push with your thumb on the sides of the
face to make the cheeks stand out. The moustache and beard are just hair that covers the
face and should, therefore, follow some general facial features, which is why we still
need to create a volume that can be interpreted as cheeks. Finally, push the croissant
toward the nose to close the mouth.
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42 Use the tip of the needle to draw hairs on the beard and the moustache. You can draw the hairs on the
edges of the beard to create a fuzzy impression.
This is also the time to draw wrinkles near the bottom-outer corners of the eyes. Add corners to the mouth and
eyebrows on the white band of the hat. Draw a pocket on the coat, next to the present, and put a white bit on top
of it to create the impression of an elaborate costume. Make some vertical marks on the Christmas tree, and draw
a patch in the very center of the hat.
You are almost finished. The last thing to do is to decorate the Christmas treejust put small, multicolored clay
balls all over it. Bake Santa following the clay manufacturers instructions, and let him cool. For more tips on
baking, see page 27.
TIP
Off-White and Sparkling White
To make an off-white color for the beard, you can mix some flesh or beige clay with some sparkling white clay. The flesh or
beige clays do not have enough pigment to drastically change the white color, but they can mute it a little bit.
The Universal Hat of Santa
This is probably obvious, but you can put small red-and-white Santa hats on all the ordinary critters you didnt give away
before the start of the Christmas season to turn them into very appropriate Christmas gifts.
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Variation Ideas
Santa Imposter?
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Gallery
Ice cream served with this beautifully decorated scoop can only taste sweeter. You can make a scoop
like it by following the project directions.
Artist: Mona Kissel
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These elegant bracelets illustrate how effectively Mona Kissel uses the
acrylic floor wax technique.
GALLERY
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Gallery
Tearing effects give an aged look the lozenge beads in this necklace.
Artist : Ellen Marshall
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Gallery
This necklace is a marriage of metal-wire wrapping and textured clay
highlighted with mica powder. The clay was textured with stamps from
Era Graphics.
Artist: Ellen Marshall
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Subtle applications of ink and pastel color soften the hard contour of this
necklace.
Artist: Ellen Marshall
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Gallery
Vibrant colored clay-on-clay is featured in this pin.
Artist: Ellen Marshall
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Acrylic media and metallic paint combine to create the quilted effect on
this pin.
Artist: Ellen Marshall
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Gallery
These pins are miniature collages of decorated sheets of clay.
Artist: Ellen Marshall
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Exquisite seed-bead fringe and polymer clay ornaments (by the author)
combine beautifully in this necklace.
Artist: Leslie Pope
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Gallery
This artist pioneered the application of silk-screening on polymer clay and
introduced methods for building Japanese-style inro.
Artist: Gwen Gibson
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This artist works with both polymer clay and fiber. She uses surface design
in her mixed-media artwork.
Artist: Andi McDowell
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Gallery
Stamping and caning applications are featured in this necklace.
Artist: Ellen Marshall
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This artist applied her considerable talent as a fiber artist toward designing
and making this roll bag. The bag is ornamented with hand-dyed fabric
triangles and the authors heart-shaped polymer ornaments.
Artist: Judith Rose Lapato
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Gallery
The light weight of this bracelet belies its marble-like finish.
Artist: Sue Springer
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This artist has created ancient-looking, Asian-style boxes with fitted lids.
The surface treatment is translucent clay combined with embossing
powder and acrylic paint heated with an embossing gun.
Artist: Martha Aleo
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Gallery
Celie Fago
Exploring a new material, in this case Precious Metal Clay, can produce
strikingly original work. The malleability of the clay contrasts with crisp
carved textures and complex forms in these distinctive bracelets and
pendants. The polymer clay elements were produced with related and
visually harmonious techniques, including photo transfers and carving.
Photos: Robert Diamante
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Jacqueline Lee
Love for ancient and exotic art pervades these pins and pendants. Using
acrylic paint, metallic powders, and handmade molds, Lee has developed
meticulous techniques to produce work that evokes the ancient Far East
lacquer and wood pieces in modern clay. Elements are molded in clay, assembled and adhered with glue or TLS. Photos: Jacqueline Lee
Nan Roche
Mokum gan is a versatile technique. The effects vary depending on the
color, transparency, and pearlescence of the clays used. For the pieces
below, a sheet made of contrasting layers of opaque clay was pressed into
shallow molds and later carved or sanded away, revealing dramatic graphic
patterns. A weathered look was achieved by applying a metal patina as the
last step of construction. Photos: Chris Roche
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Dayle Doroshow
When is a book not a book? When its a dream. Doroshows evocative figurines, boxes, and plaques hold secret messages, treasures, and wishes in
hidden compartments. Techniques combine sculpture, caning, doll making,
and book arts. Photos: Don Felton
Elise Winters
This master of form and color explores new ways to combine polymer clay
with other materials. The screen holds a thin sheet of tinted translucent
clay embellished with gold leaf. In the cinched pin, a ring of vermeil
encircles a core of subtly color-blended polymer clay and a skin crazed
iridescent acrylic paint.
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Barbara Morrison
Energy and sprit are embodied here. Wirework and beading embellish
these colorful figures. Photos: Patrick Clark
Liz Mitchell
Polymer clay, transfer images, and paint were used to produce these distinctive books and frames. Photos: Ralph Gabriner
GALLERY
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Dorothy Greynolds
These streamlined pieces make the most of the luster of pearl clays. In the
pendants and earrings, paper-thin cut-out shapes in contrasting colors are
applied to pearl or black bases and rolled in. Photos: Dorothy Greynolds
Dotty McMillan
How many decorative techniques can you spot in these Oriental looking
pieces? Just for starters, the kaleidoscope employs image transfers, molded
pieces, and antiquing, while the lively figures (concealing recycled prescription vials) are clothed in mokum gan and chrysanthemum cane slices.
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Patricia Klamser
Large, beautifully crafted evening purses bring the small traditional
Japanese inro boxes into the world of modern fashion. They are formed
over wooden shapes and ornamented with hand-painted and silk-screened
imagery, as well as veneers featuring metallic clay effects, carving, and
texturing. Photos: Rob Vinnedge
GALLERY
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Judy Kuskin
In these unusual mixed-media necklaces and wall pieces, found objects like
driftwood, shells, and feathers contrast with polymer clay design elements.
These diverse pieces employ many techniques, including carving, backfilling with contrasting-colored clay, molding, texturing, mokum gan,
canework, crackling, patinas, and antiquing. Photos: Roger Schrieber
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Liz Tamayo
Voyages of imagination, discovery, and delight are memorialized in these
complex hinged albums. The postcards are polymer clay, too, and made
with transfers as well as paint and patinas. Photos: Don Felder
GALLERY
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Gwen Gibson
Innovation is Gibsons hallmark, from the Tear-Away technique cave art
brooch to the silk-screened lentil beads, bracelet, and pendant. The transfer image on the pendant (lower left) was made on the back of a paperthin sheet of translucent clay, tinted, laid over crackled metal leaf on clay,
baked, and highly polished. Photos: Robert Diamonte
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Maj-Britt Cawthon
Polymer clay adapts just as easily to bold, geometric modern designs as it
does to traditional imagery and imitating ancient artifacts. Mokum gan
and simple canes are used to decorate the big, bold, elegant beads in these
necklaces. Photos: John Bonath
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4 of an oz.
4 of an oz.
8 of an oz.
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2 of an oz.
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Contributing Artists/Resources
Martha Aleo
817 South 10th St.
Philadelphia, PA 19147
[email protected]
Linda Goff
1204 S. Fir
Olympia, WA 98501
[email protected]
Meredith Arnold
Moonenstars Unlimited
110 N. 201 St.
Shoreline, WA 98133-3012
206.542.3405
[email protected]
Dorothy Greynolds
5678 Eldridge Dr.
Waterford, MI 48327
248.683.1107
[email protected]
Jody Bishel
548 Wakelee Ave.
Ansonia, CT 06401-1226
203.735.5879
[email protected]
Maj-Britt Cawthon
11715 West 18th Ave.
Lakewood, CO 80215
303.274.7565
[email protected]
Dan Cormier
RR1, Site 24, C67
Gabriola Island, BC V0R1X0
CANADA
[email protected]
Dayle Doroshow
Zingaro
P.O. Box 354
Fort Bragg, CA 95437
707.962.9419
[email protected]
Celie Fago
RR 1 Box 376
Bethel, VT 05032
806.234.5428
[email protected]
Gwen Gibson
216 Bayview St.
San Rafael, CA 94901
[email protected]
Susan Hyde
Susan Hyde Designs
3920 Sunnyside Ave. N.
Seattle,WA 98103
206.281.1559
[email protected]
Mona Kissel
749 Nadenbousch Lane
Martinsburg, WV 25401
[email protected]
Patricia Klamser
308 20th Ave. S.
Seattle, WA 98144
206.322.8819
[email protected]
Judy Kuskin
2527 32nd Ave. S.
Seattle, WA 9814
206.725.2725
[email protected]
Judith Rose Lapato
3104 Addison Court
Bensalem, PA 19020
[email protected]
Jaqueline Lee
1645 S. 350 E.
Springville, UT 84663
801.489.6226
[email protected]
Ellen Marshall
2420 Montrose St.
Philadelphia, PA 19146
215.752.0360
[email protected]
Andi McDowell
5664 Vantage Point Rd.
Columbia, MD 21044
[email protected]
Dotty McMillan
7060 Fireside Dr.
Riverside, CA 92506
909.780.4056
[email protected]
Livia McRee
[email protected]
Liz Mitchell
101 Upper Kingtown Rd.
Pittstown, NJ 08867
908.735.5710
[email protected]
Barbara Morrison
717 Hiberta St.
Missoula, MT 59804
406.721.6159
[email protected]
Leslie Pope
[email protected]
Elissa Powell
Elissahearts
1731 Santa Cruz Ave.
Santa Clara, CA 95051
[email protected]
Margaret F.H. Reid
2 Stone House
Howey
Llandrindod Wells
Powys LD1 5PL
UNITED KINGDOM
(44) 1597 825517
[email protected]
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Nan Roche
4511 Amherst Rd.
College Park, MD 20740
301.864.1805
[email protected]
Leigh S. Ross
Polymer Clay Central
610 5th Ave.
Bradley Beach, NJ 07720
732.776.6576
[email protected]
Georgia Sargeant
2400 Virginia Ave. NW, #C-1017
Washington, DC 20037
202.223.0777
[email protected]
Sue Springer
69 Hamilton St.
Chalfont, PA 18914
[email protected]
Liz Tamayo
2926 Holyrood Dr.
Oakland, CA 94611
510.530.7249
[email protected]
Elise Winters
56 Adams Ave.
Haworth, NJ 07641
201.501.0520
[email protected]
Valerie Wright
4370 Hickory Wood Dr.
Columbus, OH 43228
[email protected]
Valerie Wright
4370 Hickory Wood Dr.
Columbus, OH 43228
[email protected]
302
AATRICECO
12244 N. 84th Place
Scottsdale, AZ 85260
phone: 888.484.1999
www.atriceco.com
Airbrush supplies and accessories
Clearsnap Inc
P.O. Box 98
Anacortes, WA 98221
phone: 800.448.4862
www.clearsnap.com
Fluid chalk pigment inks and other products
Create An Impression
56 E. Lancaster Ave.
Ardmore, PA 19003
phone: 215.645.6500
www.createanimpression.net
Earthtone rubberstamps, other
rubberstamping and paper arts materials
Diane Maurer
P.O. Box 78
Spring Mills, PA 16875
phone: 814.422.8651
www.dianemaurer.com
Wood graining combs, paste paper and
marbling supplies
Dick Blick
P.O. Box 1267
Galesburg, IL 61402
phone: 800.828.4548
www.dickblick.com
Lascaux acrylic paints (see www.lascaux.com
for international sources) and other artist
supplies
Golden Artist Colors, Inc
188 Bell Road
New Berlin, NY 13411
phone: 607.847.6154
www.goldenpaints.com
Acrylic paints and media
Gwen Gibson Designs
216 Bayview Street
San Rafael, CA 94901
phone: 415.454.3246
www.gwengibson.com
Photo-EZ stencils- ready-made and stencilmaking kits. Online tutorials
P O LY M E R C L AY A R T
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Homecrafts Direct
P.O. Box 247
Leicester, LE1 9QS UK
phone: 44.0116 251.0405
[email protected]
www.speccrafts.co.uk
general supplies, Formello, tools, and cold
enamels
Letraset Limited
Kingsnorth Industrial Estate
Wotton Road
Ashford Kent, TN23 UK
44-(0) 1233 624421
www.letraset.com
Promarkers, Tria markers, other products
Metalliferous Inc.
34 West 46th St.
New York, NY 10036
phone: 888-944-0909
Precious metal clay
Mindstorm Productions, Inc.
2625 Alcatraz Ave., Suite 241
Berkeley, CA 94705
phone: 510.644.1952
fax: 510.644.3910
[email protected]
www.mindstorm-inc.com
Instructional videos
Over the Rainbow
ABN: 37 212 817 463
PO Box 495
Ascot Vale, Victoria
Australia 3032
phone: 03.9376.0545
fax: 03.9376.4489
[email protected]
www.overtherainbow.com.au
A full range of polymer clay products, tools,
Lumiere paints, and Pinata inks
Raydec Creations
Warkworth, Ontario, Canada
phone: 705.924.3903
fax: 705.924.3872
Arts, Crafts and Hobby Services
Craft Supplies and Equipment Hobby
Products and Supplies
Red Castle Inc.
Phill Schloss
P.O. Box 39-8001
Edina, MN 55439-8001
phone: 877.733.2278
www.red-castle.com
Rio Grande
7500 Bluewater Rd. N.W.
Albuquerque, NM87121
phone: 800.545.6566
Precious metal clay
Rossdale Pty Ltd.
137 Noone Street, Clifton Hills
VIC 3068, Australia
Premo, Sculpey
Staedtler (Pacific) Pty Ltd.
P.O. Box 576, 1 Inman Road
Dee Why, NSW 2099, Australia
phone: 2-9982-4555
Fimo
Stewart Gill, LTD
Unit 13, Elgin Industrial Estate
40 Dickson St.
Fife, KY12 7SN Scotland, UK
www.stewartgill.com
Byantia Cloisonne and other paints and
materials. USA sources:
www.meinketoy.com, www.puffinalia.com
Royal Sovereign Ltd
7 St.Georges Industrial Estate
White Hart Lane
London, N22 5QL
[email protected]
Magic color inks USA source:
www.jerrysartarama.com
RESOURCES
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Celie Fago began working in polymer clay in 1991 after years of working as
a painter and sculptor. Her jewelry combines polymer clay with precious
metal clay. Shes a highly regarded, generous, and innovative teacher who
has done groundbreaking work combining these materials. Shes one of six
senor instructors of precious metal clay worldwide and was invited by
master metalsmith Tim McCreight to be Mitsubishis PMC liasion to the
polymer clay community in 1999. Celie and Tims intermediate video, Push
Play for PMC, is available from the author or whereever craft videos are sold.
Livia McRee is a craft designer and writer, and a former editor at Handcraft
Illustrated magazine. Shes author of Easy Transfers for Any Surface, Quick
Crafts, and Instant Fabric, among others. Her work has been published
online, and she has contributed to several how-to craft books.
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his special collection of projects culled from Quarrys most popular books about polymer clay
offers a spectrum of inspired ideas and techniques for polymer clay enthusiasts with all levels
of experience. Learn from some of the most talented artists in the field how to make every-
INCLUDED ARE :
Projects ranging from inspired gifts and clay
figures to unique jewelry and beads
processes
Crafts
$25.00 US
16.99 UK
$29.95 CAN
Celie Fago, Ellen Marshall, Livia McRee, Georgia Sargeant, and Dinko Tilov
EAN
UPC
P
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www.quarrybooks.com