30 Techniques & Projects That Imitate Precious Stones, Metals, Wood & More FAUX SURFACES IN _ POLYMER | CLAYFAUX SUREACES IN. P Sees CLAY 30 5.0 Techniques & Projects That Imitate Precious Stones, Metals, Wood & More Irene Semanchuk Dean wil ARK BODKS |eanror Valerie Van Arsdale Shrader DeDicaTion anT eres on Kathleen Holmes For Scott, always. pHovoG hur: Evan Bracken ADSITIONAL CO¥EH SIO“GRAFHTY: keithwright.com euionsH: Barbara Zaretsky LLLSiti8 10S: Lovelel Buckley ASSISIAN! Foto: Heather Smith PROOUGHION ssrsieVor: Lorelei Buckley EOHCHIAL Assis ARCH: Delores Gosnell Rosemary Kast Library of Congress Cataloging in Publication Data Bo}, ee Seana clus Fa.n-aunenes in pelyrarcisy : 90 leckniqies & prints "na nals oeclous SIaeS, seoad 4 Hate # ete Semanchak Doan, Teue82 2508 F802 ae aoganeas 12 tae resdaat Fis Foltin Publis! Ly Lark Joes, 9 Avision of Staring Publiling Co. Ine 387 Park veri Sear. New York, NOY. 1018 © Fane Searle Dsan st bulcdin Cares oy Ste tng Publishing, o% Ganesan Manela Grous, One llrtic Ave, Sito 105 Toronto, Oars, Canada WER 7 Diotibured in no LK. by Guild a” Nestor Crosman Ublcstone Lal, alle Alas, 184 High Sheol Lewes, Sussex, Srglene SNF A Ink 1 Gay 12rs-40 4, Fax gt 00) “779 47EoNe, Ent /etnegenngrsir corr, Wea; wonerrcpubkeatons.com Duta W* Aust ay Dapiecen Lie euseat Poy La. PO, Bon 704. Winds hs desions. piers, apa projects ths solu ate tendo fer he psn con fo thot press ory, Aw ober Lise, ejpenaly corrareisl us, = fo to 6 Australia Tre-eriten instr, phot Lise oF the rancor ard ray be buses undr lave without viton pernicsio of ne soya Fee-yeit me bee? rack 0 ast that all- information Fis bak is accurate, Ione, hue lar en Fiano. a iB, Me Fula 2 carwet be vesporebi fr ary isis, losses, end oe dary ray error tha ute othe nforration inthis boa IN you have euestions ar caawmeria abut bs bets, please Lat Rents 67 Be. Asha (5 28-0 lan tactured in CainaContent Introduction Materials, Tools, & Techniques Recipes and Projects Gemstones Nata Lapis L Tier Eve Turquase ul Opa dace Metals: Balinaoa Sliver Bone Rust Paseto Stee Cooper Vercigrs Natural Materials Bone Azalone Cork Methero-Peet Leather Burled Red Mage Rocks & Stones Agate Piivor Rock Surface Decoration Caledon Diehoie Ga en Cloisonne Raku Scrimshaw on Faux Ivory Basse: Tale Evamet Gallery Artist Profiles Acknowledgments ai 84 a 90 94, 98 108 406 re 14 18 122 125 120 440INTRODUCTION IF You HAVE SOME experience working wth polymer clay. you've probably experimented with imitative techniques a bit; perhaps yout like to perfect the ones you're already using, or maybe you'd like to learn to create some new faux surfaces. ve been working with golyner clay for over 10 years, and | stl get excited about learning new techniques and developing new ways 10 use them to express myself in this fabulous medium. So I've gathered recipes fram a dozen talented polymer clay artists, added a few of my own, and | present 30 of them now to you, These remarkable techniques imitate gem- stones, metals, and other natural materiats, and rival the originals in luster, billianeo, and boauty Polymer clay can simulate a multitude of surfaces, from the sleek # sparkle of tiger-eye to the industrial iitiness of rusted steel. The coloss, texture, end versallity of tis material make it perfect for creating faux surfaces, Blend the colors to produce the perfect deep blue for lapis lazuli or the rich red of oinnabar. Polish the clay smooth to re-create mothor-of pearl, or tex: ture it roughly to mimic bone or ivory. Its pliable enough to become anything from a simple spacer beac to a pair of exotic candle- sticks. Fold it texture it, stamp it, sand it, ail, glue it, bake it, and bake it again—there are an infirite number of ways that polymer clay ‘can be manigulated to achieve the imiative effect you desire. 1 also explore the results achieved thiough the use of specific types of polymer clay. For instance, certain recipes Utilize the effects of the 6 Feux Suaraces In POLYMER CLAYmica powders inherent in some of the metalic poly- mer clays, while others exploit the properties of the tvanslucent clays, Paints, inks, mica powders, wax ‘compounds, and confetti can enhance the surface of the lay to add the sparkle of an opel or the shaan of silver. Proper sanding and butting can help create the brillant shine that delines many of these natural substances. ‘The book features a diverse selection of techniques, with five categories of faux surfaces, In addition to metals, precious gems, tid and stones. there's also a section on natural materials, such as amber and wood. You'll see a number of recipes that simulate specific suriace decoration techniques, such as dichroic glass, cloi- sonné, and basse-taille enamel. Not only will you find stop-by-step. ‘ ilusirated instructions for creating each faux surface, but you'll also v be treated to beautitul projects designed by the recipe contributors, each and every one of them a gitted polymer clay artist. The book has been arranged so you can use the recipes to fol- id of imi low your muse and create the projects with any tative surface you choose. It's technique-driven, so you can apply the process in any number of ways. Although I've included many recipes here, please consider these to be just the start of your advan- ‘ure with imitative techniques. Use this book to inspire your own explorations and experiments with polymer clay, Enioy the journey. 5 a jemarssuk Das Inrraouerion 7MATERIALS, TOOLS & TECHNIQUES ‘You! nel avery of nti ta eat Inative urls. aed oro oly, you nyse ne pans, eae ens, cofree 8 Faure Sunraces iw Powvmea Clay Although you'te fear with he lundamental properties of paly- ner olay, 'm incuding come toasic wVormation as a releree. Some of the following is rather general, but much of it can be appled speciiically to the creation of inilalive suifaces. Each recipe will include dotailed information for its particular surface, Materials Since the éreation of a successful feux requires the proper cert halion ofa numbes of ekxments— the ight color or brand! of clay, decoration—the following section bsfers som ackoe about using materials, Polymer elay. | cro are coveral different brands of polymer clay avaiable on the margal, anc each has ite own unique propert ‘hal can be Important when you're creating Each handles atghily ditterontly priori own post-baking si lexiblily. A tow oxamplos: Sculpey Il S easy to work with but sometimes fragile altor bak- baking, anid Bac ngth aad ing, while Comit is gre! for sculpting ecause it blends well y and Kato Polyckiy use mica powsors ams, Premios Scul for their metalic clays these ingredients enanle sua hiques that just aren't possi in lays thal don't have ther, I disc dopth on page 13. "8 tech. hese properties ly mere Experiment with several orands to decide which is right for your work, syle and your aesthetic: Each manufactura’ offers a varioiy of colors, and you can custom bien wn shades, which you'll offen need Lo do to: them ta create cereale at accurate imitative sur fare. Seme ef the resioes in this book cal for a spacitic brand: in sore cases, this is because a Briain color ox aroperty 18roquied for the accurate simula, lion of a sutecs. Ine brand nam 'smentoned, tee! free “0 use your ‘evorite brand ol clay. See page 142 for information about suppli= afg you can't tine a specitic product 1 your ares, Liquid polymer elay. By now ably experimented! a you've prck bil weh quid polymer olay. Ws a temic medium ter making neeely inthe parent translors, rel project ‘on page 125. It can be tintod vith oll painte or mica powdors ux be and used to fl e815 for faux cla sone fsve page 114), oF used! as 2 glaze (see the celaden projact page 109), Some people find that iguid bolvmer clay bakes ¢ When the tomporeture bureped 300%F (150°C) for afew min ues, Use reasonable caution Dane ihe baking, becauso it cre: fumes ane’ the iumes inerese as the temocraiure Hoes, Liquid polymer clay can also be Useo Ike glue: since rs made of the serro suibstance ae polymer clay, it creates a superioy bord between two places, Your pi must, af course, 09 baked after ces you've applieg lhe liquid clay, Mica powders. These aro ext mea, and they acd matali shine to the eurlac ly fine fakes of colores el polymer slay. While they can be physi cally mixed inks the clay (usually icant clay to achiow the greatest clfect), they're gen urface, into trans erally used on the When spead wilh 2 finger ora dry paintbrush, these powders - recy busters with squid weyers cy will suck to the surface of the clay. | always wear a dust ia when working with mica pow- dors 0 avoid breathing tha fice articles, which easly become rirsome, Normally, mica poweee must be seaied with a varnish after baking to prevent I fom rubbing olf Inks and paints. Permanent shokbased inks ransperent a can be used to tint coyner olay. and other nks are used to slanp h the clay’s surlace to erin fax Surfaces suct as [age Panis are often added ta layers of ty to create offocts such as (hie Garcia Wi BGR Tol cay ety se Several tesives, like the bone directions on page 59, use a stain, Although the surlace inst-uctions provide rye paint Mareriats, Tools & TecHNIaUES 9Irslosooetg ter ard ces gle the um Spal (SOHNE 10 Faux Sunraces in Poumen CLav nore specttio details, essentally you aoply acrylic paint to baced nolymer clay fusing your fingers to press the paint into every neck and eranny) and then wioo off the excess pant, Once the paint 8 diy, you een sand tha polymer cay to remove Ihe paint on the higher surfaces Thinning paint with water vil eraale & wast, whieh is an appropriate mettiod to achieve a specific sirulation; reed te copper veroigris recipe on page 89 ter more information, Occasionally, youl see a specific brand oF colo’ of paint, nk, or ler material feted In the recipe, As with the cays, some artists: have inclcated that the oroperios of a particular products anslusency, heat resistan ats, sre recited to creat th $n she faux surface, desired elfec: Inclusions. Giller, conieti, and metal laf are sed in several recives that reouire decorative elements, Look at the dichroic aes recipe on page 106 70 see how boautiully gltto* and oat are sed and a litle bil of contetil goes & long nay in simulating the iridoacance of opal on gage 92. Wax paper or doli paper. Many polymer clay ertists the ts crate a moveable work surtace with these materials. You car remove the clay ftom the paper wilh litle or ne distortion by cere. tully peeling the pager trom the back of the clay Wax paper and deli paper alsa help prevent a brayer er acryie rod from sticking to the clay just Dave Ihe pane on top of the: clay surtace first: Crumoled wax bo used <0 insart texure, 2s youll see in the slate on page 87 paper ean a reope Mold releases. || you'r using a mold, you need something to prevent the clay from sicking to, the mold, Wateris a sukable mold release, ap is the non aerosol sorsiy-on vinyl protectant available at automotive parts stores, Cornstarch ig also an excellent rrold release, but it wean eave residun thats ciificuk to remove aller baking. Look to each “eaipe for more sp information on using these proouels. Glues. \Whon you want te cover aan object that polymer clay Hest = want lo stidk to, such as wood or metal, frst coal tho object with heat-resistant palysiny! acerare (PVA) white ale Allow the glue #9 ey bofare cov fing the object, and polymer lay wall acinar to it ricetyThough cyanoecylate gus wl rot holds bond “rrougn the 's perfect for ging phe” cay arojects after they have been baked. Swipe the zroas to be baking process, ued with an alco hal'soaked cotlon bal to remne ay olls, Follow the glue manus to vertilate well when you're usng ths product Varnishes. Those Inishes are recessary to protect a suriace ment: that may other se-rub ofl, suc as niga cawders or ‘netal leat, Although varashes me hy mer cay, some sullabe akerns ae manufactures by the companies Wat, produce 2 include certsin floor polishes and we firisnes; see the supplier's r s-based aeryic on page 142 far details on how products, Sone vamishes. incicing most clear lou ta ral polishos, will react with the 2 il Io become y and caus slicky over lime, so be sure to use only a polymer-fiendly rishi use varnishes to give a hign goes te a surface i you don't he progust, You ean alse a bull Hare's 8 tie: Auply two or rnd bin of varnish, insizad oF one Hi toobtain wy 8 sipgolser -esults The toes ua ines ge seplag te canebap’ 0 ing tees ante o0. Bt apa me Tools ‘You've probably amassed a col lection ot polymer clay 1201, and there arena doubt same you use all Ue tine. Here's a Quick ru own of the essentisis, pus a fow oxtras that will oo halaid n making laux surlaces, Pasta machine, |) isl exactly a rust, bul it’s pretty dose. Not only does iL asa! in conditioning olay, it ralts wtormly thin sheets of clay that can't be achioved as quickly ov parfocty e brayer cf rol At ls thinnest settings, a pasta machine ca also roll paperthin ests, which is a necessary the recipes in way s step tor some Martens, Toots @ Techuaues 11ting 3 Walisvenn) Sees ate rp vera fa ores tb Kring nivalis can he usable es 42. Faux Surraces wm Potyuer CLay k. Lear to rol uliracthin sheets of clay on page 14, this Some polymer clay artists ike to Use = "stripped-down" pasta machine; that Is, one that has ha his nousing removec—this allows ascees 1b the back side of the rl ra for quick cleaning The housing is: not structurally important. ane can be removed without eemoremising the per formance oF salely af the machine. Ielllake just & qu seater on the internet to find Instructions for dsassembling cleaning, and reassembling your pasla machine, Brayer or acrylic rod. | tion toa oasta re ine, you'll nged these tocls-tor ilstten: ing the clay. Some anisis use roling pins, too. Food processor. 1 is used in sexeral recipes to chop machine the clay ilo srnall pieces: i helps creale the proper texture for the faux cork on page 65, for exam pe. Be sure to run tin short bursis whic you work, Cutting tools. There are blaces soki spectiically ler oalymer clay, bul surgical tissue blades oF pair soraner blades also work very swell, A craft knife will be best for same7ypes of outing. The surace directions will specily a parieular cxating utensil i's cally neoaseary; otherwise, you should use the tool with which you feel most comferable, Atter every few cuts, wipe your olade on a paper towel witha bit of Tubping alcoho! to clean it. Miscellaneous tools. Ne2l2 too's, stool weaving neadles, 3 are all good ty if you plan) to make beads, Bamboo and knitting rv tools, and a red skewers work well, too, but t can be difficult to remove clay thai has been baked on the skewer. Sculpting tools wll be invaluaole for a variety of things, especially lor some of the tau lechnigui indentatiors es that require rancom ‘or marsings; [ook for these in the cerantics seetion of @ well-stocked craft supply store, You gan also use found objects, such as credit cards, golf lev cle crochet hooks, o° ub apers, id YOU Can Make your own custorn shaping-coax- ers, ing- nudging tools trom —you guessed It polymer clay, You tan cave baked solymer clay wilh a gouge, sold in erat stores ‘See page 16 for more detail about carving, This $ & good 4 lnolouny bloc! irative er Bd ion to using inv various faux techniques,You'l notica thel moles ealymer ay has ges thant carved polymer keep this die ence in rrind wnile you're work ing on c faux surtase, Molds and texture sheets. ‘Mcles and texture sheets are Used! n several of the projects thal iolow. Gormmential molds are available at craft stores, but | fino it much more satisfying to use ones that I've made, (Soe age 14 tor mere detais abou making your own molos.| Texture sheels are also commercially aellable, but consider found s such as window serben or textutad wallpaper, or even make your own, Clay gun. In the Balinese siver recipe inclicled hors, decorative coils ane spins are created from lengths of clay that are extruned ‘tom the gun, Buffing wheel. You may nocd his tool lo create shine, depen ing unon tha surlacee you create, Redd mona about butfng on pags “6, and don’t shin the information on sataty tcund on page 17 Techniques There are a fev processes you should be fam iar with before you bbagin to practice imitative tach: niques. As you examine the ecines, Youll 802 that some faUKs ate achieved bolora Lhe clay is heked, s some, wel, n between, ome after, ancl fe Baking Besides praper coneitioning, you mma also need to uilize sore specie raling lenhiiques, bach the clay, or make a mole before you bake, Conditioning Since you're an experienced polymer clay uscr, you already know that you need to candition your clay, and you know how fo do it and why conditioning thor- oughly mos the comoonenta of he clay. t's aiso the portoet tine to oreate the ouster color bier thal you'll nee in many of the folowing recipes, Aligning the Mica Parti You'l fine 4 couple of references 10 aligning mica particles in tie reslaas ahead, The motolic cay’ mentor ed on page 8 cenlein nica coacers, and you'll notice the changeable luster when you aker the angle at which you view the cay, This poperty hes been For Merit” theg Those the tape eye invaton reat Stra chy MareRIALs, Toots & TECHNIQUES 13“2 paper 14 Faux Surraces m Potymen Cuar wall utilized in the execution of some of the faux techniques in his book. like tiger-eye and mother-of-pearl The mica particles are aligned indian she surface oF metalic day enpears to 08 8 Un ‘orm color, To achiove this, feed Ine clay through the pasta mnachine "epeatedy, always tok ing it and *eeding t back through in the same direotion, Ater 10 to 12 passes, the surlace should appear to be one sinaath color shoot of Rolling Paper-Thin Sheets of Clay Create thase by placing a thin sheal of clay betaeen two pieces of wax pacer and rolling tt through aipasta machine, There area low lricks to the process: fist, roll the clay as thin as possitte withox using wax paper, Next, place it bbatween two pieces of wax paver, but press only on the lead ing cde thal you'l feed into the pasta machine first, As you start to feed in that edge, allow the ay to separate ‘ram the paper above the rollers, as shown at Lop ell. Since the clay isn't con- strained by the paper, the rolling action is smooth and the cay nas room ka expand into a very thin sheet. Garofuly peel the wax paper away hhom the clay to use thes papecthn sheets. Leaching Some recipes, like the cork direc tions on gage 65, call for loaching the clay to rermovn the exoass plasticizer. Roll the unconditioned lay into a sheet and placer it hetwieen two pieces of paper ‘Weight ft witha tle (not a book, because the plasticizer may dain- ‘ge the coven Until the paper has absorbed same of the plasticizer: al which tine you'll see an oily residue: on the paper This can take just a few hours, or it may need to leach overnight, In most ceases. youl need Io conestion the olay aiterwatd to thoroughly mic the remaining plasticizer inter the clay body. Some of the soft clays tend to get mushy when they're handled, so they one from leaching, 100. Making a Mold or Texture Sheet Jo make your own molds or tex- ture sheets, blend sorap pokmer ‘lay unt 's a uniform edlor. For a madd, shape the clay into a slightly tattened cle a bit thicker than the ilom you're mole ing: for a texture sheet, roll ine polymer ciay inte imodium selling on your pasta machine, Apply a generous amount of release dict to the opject you're using as the oasis for the mold oF shee, and press it siowly, frmiy. and straight dow sheet at ainto the polymer clay. Pull ge co reease il, and bake the cay oid or texture sheet for en) hour ai ths menufacturer’s recom: mended leryperature, (A ergot aking te wil result in a skongar mold Ouring Baking Of course you Keipw thet most bbake at brands of patyrrer 27°F (196°C), bur check the package of the brand you buy. Palmer cay must have the propor baking fernparaune— 2 2bre to. 20 low and the piece won't cure property, 190 hier and fe wll bum Buy en inexoensive oven thor ‘momator and use I Arhough package dicsction aly incicale an amour of line per! inch (6 im) oF Lekrass, bake for a anim of 90 it sigs no matter how small or thin ‘he oece, and up to ar hour tor thicker, largor pieces. Fa piece isn baked fong enough, the pal 1 fuse completely, resulting in a woos finshod picee, Baking for & longer dire dows no harm, as tong as the lernieratine remains ul. iymer hay not have @ chance ‘here i Tenting IF youre conosmed apout fumes, beke in a ceverse baking dish, oF font your polymer clay evil) aluminum foil, The latter is also recommendec when basing ina teastor oven, because it protects the clay from Lhe olose healing ele- ments) The ideal baking situation would be a dedicated convection oven, sta window, with an eahaust ian, Tenting wath alurinurn fal can also minimze darkening, which can be 5 conconn with some af tho reds and the traneluconte used 10 Greate faux suriaces, Plaquing Al of she translucent clays ang some of the lightar colors in a ow brands are susceptible to something calcd plaguing. Plaquing appears atter the ciay is baked, when small, whi, Tres pcm cl bn antares ts aura eroscent sha lust undior the clay, For some imitative toon niques, such as jade or quartz, plaquing is not nesessarly a b: mares appear surface of Ihe thing and ean enhance the sm ol a surlace. Howes its very disappointing le make the ‘oo! faux oaala only to have them plaque in the oven, The areation of placuing is not a precise acence! Some people sweat thal the meieure on their hands imearled to the ol increases its Ikaliod, For that reagan, you may want to hance your translicents ae litte 2s MATERIALS, TooLs & TecuMauES 15agitate ureces OS re aus od ul ge at 16 Faux Sunrsccs Iw Powwen CLar possible if you don't want them 70 plaque. Teriperature shacks also seam to cause plaguing: fo gre vent them, put the cover and bring il ug to the correct temperature, when the baking time has elapsed, turn off the oven ay in a.cole an crack the door sighily 1o allow he cay Ia oca! slowly. OL course, iF you want to inersaso the plaquing in your laux jade pendant preheat the oven and remove Ihe piece immodately after baleng, Alto” Baking There are a ow ¥ 5y8 you ean fembellstt your imitative surfaces attor baking. Carving ‘Carving b results in oo tha can’t Be ed pol achiovad any other way. Carves lings have more abrupt edges amped lines, and thus, ‘nore realistically imate same than carved gemstones. A linoleum gouge can easily carve through baked polymar day; draw an Image or design drectiy onto the pokiner surface to guide your ‘ ake snigath curved ving. Te lines, ave the olay in the dee tion of the curve whi holding the gouge stoady. Sanding and But Sarre inlalive teow ry require sanding and exen butting to attain the mest realism. Ainaiys send polymer clay with) wevidry sandpaner (avaliable a lo parts store) 16 bath are- vert palmer dust from becom ing airoome and to keea tr ancasae® fiem seratching the clay. I's not neceasary to sand under water, but you should keep the Gay ane the sarcipaper wet a all limes. IF you work ina owl of war, as opposed 1c under water, yeu'll conserve nat ural resources, Novor ee arils of paper Dspending an how saath your piée ater baking, you esn start as 320 91 400 gil, and work your way Lp ta 600 ar even 1,800 ori, ding without subsequent batt ing wil create a sme: with a dul shine, Buting 8 sanded piece with a rag (a piace wrece ject wil u wwhion ig appropriate lor the ol warn denim is per ‘bring un a subtle she giear of textured leat or carved cinnabar, A nigh shine, nae ssoary for gemetonas Ike malachite ar tige-eye, ean bo achieved by butting ¢ wheel attached! to. bench 8 gation grinder or jeweler’s bufer. A hand-hele! rolary tool ce times be an adequate sunstitute soine ‘ora buffing wheel, but be aware thal a title pressure goes & longway ts easy to gouge the clay with the tiny, high-speed wheel se proceed with caution, Iritative techniques are mare sfteotive when the shneis accurate, so chaos: your finishing method sccord- gree of ingly. See the buting sidebar at Fight tor instructions and impor tant safety tips. Safety Polyner clay artists know that the material fs oartiied non-toxic, but thore aro etil some commen precautions you should take, and i's not a bad dea to be reminded of these important salequards. If you use kitche tools for polymar clay they ouldn'L be used for food again, end don't alow any objects made from polymer clay to com into contact with food. Polymer clay leaves a residue on your hands while you work wath il, Many people clean up with premoistened, alsoholbased hand wipes, but my preference ig hand lotion. The lotion seams to break down the polymer clay andl | ub it off witha rougn ter g. Affor thal, [ ecrub with soap and a neilbrush to remove all traces trom my kouckles and fingernails. rycloth ra Don't breathe polymer fumes ‘while baking—use an exhaust fan, Continued use of an oven for polymer clay will result in a coat= Ing of olly fim on the oven walls. (Athough a dedicated oven is ideal, i's not always practical) Fither wine down the oven atter baking polymer clay (I prafer to se water and baking sod for a mile abrasive), of beka in a ded caled covered roasting pan. A suitable altemative would be to ‘cover your paking tray with alu- minum foil. Burrina SaFety Practice caution when buffingt The wheel moves at an extremoly igh speed, Betore you even tum on the motor, tie back any long hair, and remove necklaces or cangling bracelets. Its also advis- able to wear eye pioteciion and a dust mask, since tiny bits of cot- ton fiber trom the wheel become airborne while buffing. Always hold your pelymor clay pioce nox to the undorside of the wheal ‘when burfing—if it gets snatched from your fingertips (and this happens more often than you might think), 1 wl soot away trom you instead of toward you. Make certain that there are no childran, pots, windows, oF fragile things in the line of fre. Constantly move your ploce—hoiding it in one placa against the whoo! fon that can. wil rest in begin to met the clay. Mareniais, Toots & Teounioues 17Lr Dafne YOU ypOy es 18 Faux SURFACES In PouvueR CLay Using This Book In.addition to my own work, ve also included the work al 12 eal rer clay artists whom Fagmie, We're Ing our surface inskuc tions “recipes.” because we niend that you intermret them as you would directions in a cool you can follow the wecipes pre cisely # you wish, on mprouse a lite if youre teatng ecventurous. SW ol hearists who acitfiout time wetting them, because thoy ecniibuled recipes has tirker val thelr ezipes every time they use them| We hope you'll apply your own creativity to the ideas we've suggested hhere— make your faux turquoise a litle mare green, oF turn our faut bronze into your faux gol. Along th mind that the arists who vam lines, bear in biibuted these recipes have a lavorte brand of clay, nk, gaint ‘or wihat have you. Theugh they have foun that these recipes work as written, feel tree imant with your prefered rrateri- als, Doublless, you know that not are compatible wi exper all prociurs y. 80 bear ‘hal in mind polymer c if you make any substitutions. When you exarrine the revives, youl find that each one isa complete guid to the ernation of Iho urface, Athcugh basic bak- mes ave included in the renipes, you may need to ate these depending upon the kind of project thal you create with the surlace: beads ray need 10 eke host, for longer than a thi example, Folowing each recipe a omject ‘eaturing separated *he recipe from the aroject deliberately, so teal free to adapt the suria any project you like, For instance, maybe you'd preter to have jacie to bookenes, rather than cinnabar once? Adaat the jade surfa recipe to the beakend prajeat, aang. voit, The book is organi ed allow you the eacam to 2iplore these imitative techniques your heart's content And. when you study the prot , you Il sae that many requre skills that ave 1h your reperteire already, such as covering an opject, making a id, or veating an inlay, But the projects may presen you will the oppoxtuniiy fo learn a new technique, tke ring simple book, ‘raking a clock, or even sculpting, Final, look 10 the galery for inspiration it featuras the work of come of he most highly resierded polymer clay ar erking in the masium today,COM MALACHITE Ces ilaedaneaneaasea tein agg sich: dhoon ound i seabachive wih those diflestat Materials Premo!—Biack, Sea Green, and White Wet/dry sandpaper—a00 ‘through 800 oF 1,000 grit Tools Pasta machine Cutting blade ‘Smooth round tool, tke a knitting needie Brayer Butfing wheel 20 Faux Sunreczs In Pourmen CLar Instructions 1 Use the citferent shades of green, To mmieke the darkest colar, use 2 parts sea green + | pat beck. For the on lest shacle, add medium color, use sea green ony, For the teh equal parts 30a green and white Pat Laukkonen 2? Make two bullseye canes: with the darkest eoler in the enter; vary the thickness ol Ihe sheets and the arrangement of the shades of green, Use many layers, from thin to medium thick ness, Make both of these bulls eye canes approximataly thePut thew canes together cide by sido Make sore very thin bull's-eye canes that are diferent tern one. another and place them in the spaces between the larger caries, a8 shown, Stack several thr layers cf cifforant shacies of yreen inke a sheet, large eneugh to wap the bulls-eys cane aseembly you created in the pro- vious step. Wrap the assembly wih he layored sheet and butt gos. (EN) WE (CD) Use a smooth, round tool press the outer wrapped layer into the dents between the logs: it. should mold to the canes, Don't leave gains o air spaces between the inner logs and this layer Add nother slightly lifer- ‘ei layer you Ike 6 ‘Qul aliges from the faux ‘mlazite cane ane caver your project. Arrange them ran- domiy on the surface, roll with a trayer to smooth, an bake azcordng le merulaciurer's instructions, 7 When cool, wet-sand with 400- through 800- oF 1,000-grit sanciaaper. Butt for shine. Geustones 21MESS S/W makeup set Nowe your ecarelic uehos ences trnedocn yuu: boasry Materials Premol—Sea Green Cosmetic brushes of various sizes Translucent liguid polymer clay or hoat-recistant PVA white glue Polymer clay—black (optional) Tools Pasta machine Cutting blade [Neste too! or similar thin object MALACAIIE BEDIPE ON PASE 20 22. Faux Sunraces in Pouyucr Clay a henson o figs ol bosury hamsewes, Instructions 41. Fool a-ahost af ses groon poly mer Gay 10 a medium thickness cn your pasta machine 2. Take: thin slices of the taux malachite log you mage trom the recipe and place them on the shoot of green clay. When you ore happy with the arrangement, un il rough the pasta machine en the thickes! setting 3. Pall the sheal of clay through ‘two or these ina smentally thinner <1NgS ON the pasta machine, ing the chaet © through the machine to belween prevent distortion 4, Place the olay on your wors surface with the malachite pa‘tem facing down, Slige one side to make a straight edge. Place the handle of the makeup brush on the lay 20 the straight edge it. touchinig the end of the handle nearest the brisllos. Slice he clay just above the other end of tho handle, leaving barely enough fo fot aver the end. 1. Fax PRE 5. Roll the clay around! t until mesis and mark the spot, ‘culling just nsige your mn. Cover the handle with ¢ tin layer of liquid clay or glue, anc ell the clay onto the hancte sa the scams butt ane don't overlap. anole 6. Smooth the seam celicataly unt Lis nearly nvisibie. Roll ger: tly on your work surface to nike firm contact with the brush han- dlé, Score the clay with a needle 309) of simiiar straight objec: shown on the thinner brush, 7. Bake folowing Ihe manufac instructions. {To create the band en the thicker brush, {ill the scored ares with a sine oF back clay after the first baking, ang nake again.) Sand and buff te 8 high shine as indicated in lure) the racioe.LAPIS LAZULI The regal look of lapiss lazuli mic prow A Materials Premol—Cobalt Blue and Ultramarine Blue Metal leat—gold Mica powder—bronze Werary sandpaper—so0 and 6600 grit optional) Polymer-friendly varnish— lossy (optional) Tools Pasta machine Buffing wheel or soft cloth (optional Instructions at blue clas 1 Mix + part +2 parts ullramarine clay sw Powywen CLay 24 Dawn Schiller ihe pasla machine, Put ran dom bits of t and gold leaf on the sheet of clay, id through the pasta mactine nze mica powder | folding and rolling pee ding to the locturer's directions, If you iniched surtace is simple, wet- sand with 400:, then 600 grt sandpaper as a soft cloth or b < gloadd more leat However, if your completed proj flocks of metalic color aro distro as in step 2 ond skip the sand. uted ina pleasing manner, Bulf ng and bufing, Alter bakng a the surface smooth with yourfin- —_sculptec project, fish wi n ger and just a tiny olt of wator. for ahigh goss, it appropriatdrawer pulls your ave, Te a wel cis WA Materlals Round drawer pulls (porcelain is ideal) Toals Pasta machine Ruler cutting blade Citele cutter LAYS LAZU HEC een Is eane the urmsteten Instructions 4. Fall the lapis lazuli blond through the second thicke: {ing of ine nesta machine, The sheet needs to be long enough to wrap around the *neck” por tion of the drawer pull te 2. Measure the creawer pul gas! the clay seat and aul a strip wide enough to cover 10 to top of the pull, and ‘ong enough fo wrap farcune iL once. Wrap the stip ot telay around the neck of the drawer pull sketching gentle Gul darts, t nacessary, 7o work the clay upward ante the curve of the harcle, Form outt edges ancl sthooth the seams together wih a finger or okay too 3. Uso a nicl ouller fo cul a pidce of clay thal is stably eiger ‘han the tace of the drawer pull and lay il on the face, being core- il lo wor cul alle ar bubble Smooth the searns where the lay on the face joins the clay you ‘wrapped around the drawer pull instep 2, 4. Smoot out any fingerprints cn tho olay. Add more bite of gall eal and bronee mica powder, i desired, and smooth into ne clay 5. Bake according le the manu: cirections, facturer 6. When the and oufl as dieecied in the su f@-are cool, sand ace instructions, 411 Dawn Schiller Geustoncs 25Tee TIGER-EYE This hastoaues simulation al tgeneye rovelia rom the mies elleet in the Materials Premo!—Gold, Black, Pear Green, and Translucent Wetidey sanciaper—an0 through 1,000 grit Polymertriencly varnish— ‘alocoy Tool Craft hife oF eutting blade Pasta machine Paintbrush 26 Faux SURFACES IN POLYMER CLAY 1 Sad with the gold olay anc add tiny bit of diack, pear, and green. Make two more: god mitures, adding a bil more black each time, Separately 10 each mix though the pasta ric on the thickest setting, Folding and re-roling untl the mica particles are alignes and the clay sheet is shiny, Roll each sheet into a oyinder, as shove being cavelul lo aya ar packet 2 Condition the translucent clay anc! rol inte three vory tn cylinders, roughly one third 19 one quarter the diameter ‘of the gold mixturos, but veth the sare length,A TTR VET Te 16 gold cyin= cogether lenaihwise, Aad the anslucent cylinders between she goid 98 shown, 4 Twist the goldtranslucent undlle ram each end, as sown, Continue fo twist until the stips ol color are very fine, Roll the bundle of your work surtace Until ite faity smooth, — Pinch one edge of the ‘undle along the leneth, 60 in cross sacton, it resembles a tearchop, as the photo shows, Place *he pinched exge r the pasta machine and voll rough at " .e3t setting, Rail through thimer settings untl the sheet s thin ard fexible 6 Bake accarding to the manufacturers inetructions and lel eon, Sand with wev/dly sandpe- wator frequonily, after euch or every seaond gil change, 8 Brust ana light coat of glosay polymer-trencly varnish and lat dry. Repoat swith another coal, i red Alternative: ish, out Insteec! of using var deen shine, Genstowes 27pair of candlesticks Materials ‘Wooden or metal candlestick forms Heet-resistant PVA white glue Aerylic paint—black wefected from (a Tools Paintbrushes Craft knife or cutting blade uk EY= HEGIE= ON PAGE Instructions 1. Brush a thin coat of gue on the part of the candlesticks you Il with clay, Let them dry to a jah! tao 2, Gul a stip fram the sheet of “aux tiger-eye that’s the same wicth as the length of the area to be covered, and long enough to go completely aroune: t, Roll the clay slrip around the candlestiok forms, oeing very carelul pot trap air pockets between the orm andl the clay, Working from the widest part af the form, grad~ sally press Ine clay to the form and work your way oul to the efids, Tim the excess clay with your erat knife cr cutting dice Bull the edges and emicoth the sean by pressing gently with your finger \dlesticks accord 3. Bake the c= ing to the manulaclure’s instuc Jong andl [et them coo! 4, Sano and fist the surface jing to the recipe, I you wish, acco ppainl the exposed sections af the candlesticks, as shown here, 01 Diane Villeno,TURQUOISE i 1. 2) rene Semanchuk Dean Materials Instructior Polymer clay—turcuoise piue, nce mest “urau orange, and ecru or light pia gaye beige foo bright to sirulat rquose, add a pine ge 16 the turquoise to Small amount of dirt ca Seulpey Dituent é Paper towels dfecrease the arighiness, and a Serle paint—burnt umber pinch of ecru or ight: beige Wetiry sandpaper—a00 smuto the color slightly. Ni through 1,000 grit remen Bowl of weter Tools apes 2 Teer the polimer clay int Yoxinch (1.3 cm) pieces Betting wheel and toss them nte the food processer, Chop in herl bursts until the clay he als, Empty tham onto your work surface 5 Forned? it ie Geustours 29Shape as desired, dover: As you shape, lave fissures and small gaps visible. If you're rolling the day into a bead shape or pressing ft into a moid. apply enough pressure $0 the clay slicks f0 itself. bul Mot so much thal all of the ures cisappaar 4 Bake at 275°F (196°C) for 90 to 40 minutes, | When completely cool mix a small amount ot 90 Faux Sunraces in Pourmen Cray din with a few drops of diluent to create @ muddy substance, ‘Aoply this to the surface of the clay with your fingers, as shown, forcing it into the sures and gaps, and com- plotaly filing the lerger gape, The dirt contains particles of mica flakes that w realistic voining. Wipe away imoart any excess from the surface with a paper towel: wipe gen- tly to avoid scratching tho sur- face of the clay with the particles 19 the mucky mixture, 6 Apply bum umber paint ‘o the surface of the clay. rubbing | into the musidy mix- lure In the fissure tines, Wipe oft tho excess paint with a paper towel Allow 10 dry completely, then bake again for 10 minutes at 275°F (136°C), When cool, wet-sand 7 the polymer clay with 400- through 800- or +.000- grit sandpaper, Dunk the paper in water instead of immersing the clay, to prevont the dirt from gotting too wot. Buff gently to fish. mayan face wall hanging "eulle Your san on tact 79 hones the Wowemerta of the Veyere, wh tne eck gem ine Lequoine fo i Bet ak. col Materials Mold release Vinyl-coated wire (ike tele ‘phone wire) Liquid polymer clay Tools Large mold of Mayan face or similar image Sculpting tools (optional) Wire cutters TUNQUOISE AFOIPE ON PAGE 23 Instructions 1. Ghop the turquoise polymer clay mix 1 the food processor as doscribed in the recipe: 2, Apply rrold release to the mold, and then “i it with chopped palymior clay. Pras the clay into the indentations in the mod, adding more clay ta any sparsely ‘led spaces: Aud clay Until the rnold is completely ‘led, ‘anc press firmly inta place.3. Gonily remove tha clay from the meld, U lily shape or ennanc Luppting tecls +0 © any ol sha fecturas of tho molded pisce, if cosines, Bake at the manufac= luers recommenced tempers lure ‘or 30 to 45 minutes, og9endling on the thickness of the cley, 4. When the cece is cd), you add a hanger to the back. Cut @ piece of wir size cf your wall hanging, and lhe ands into short epirals, appropriate to the (Ts will keep then fom pulling out of tne clay.) Rall Iwo pieces of turquoise polymer clay into balls the size of marbles, ancl fleter tien sligntly with your Dip the ends of the wre id sghthy einbed eat end into one oF the fsttoned ball of clay, Preee the balls firmly into place on the back of the wal nanaing, Bake al the manufacturer's recommended fenporature for 20 minutes, Ly rene Semanchuk Dean 5. When cool, contrise will the lecpe at step 8, acing mud ana painl, Finish as directed, Genstones 31OPAL ( wridesecave of trne pecnelod howe r Materials ‘Sculpey it—Translucent Glitter—utira-tine iridescent ‘and regular iridescent ‘Wax paper Fimo Soft—translucent Confetti—iridescent Mold release, like automobile Interior protectant Wretidry sandpaper—400 through 1,000 grit Polymer-friendly varnish (optional) Tools Cutting blade ‘Sculpting tool Cabochon mold Aluminum foil or pie pan Butting west 32 Faux SunFACES IN PoLIMeR CLay Soo) UTE rene Semanchuk Dean Instructions 2 Use the Fimo Soft transiu- : cant to form a shape that is the size of your finished pisos. small amount of the Sculpey I translucent. Work the clay just enough to distribute the glitter ‘through it. Roll this clay into tha thinnest possible sheet, as shown, using wax paper if sary. Set aside. Cut a piece from the git 3 tered sheet of Sculpey Il that's twice as large as the top of the piove of Fimo Sofl and place the glticred clay on a piece of wax paper, Place a single layer of ryconfett a only One hal of the sheet ot clay. Tear same ot the cantor fakes in halt if they're large, and don't overlap any of the pieces. Gently press the con {ett into the surface with a sculpting tool, as shown—don't amoed ust adhere it to the ‘surface. Sprinkle a smal bit of regular-sized iridescent giller on the same hal of Ihe sheet. 4 Caretully peel the sheet from tho wax paper, using blade fo aide batween the paper and ihe Gay nec Fold the cley sheet in half as ay, jon, sandwiching the confetti and glitter and squeeze gently to adhere complotaly ee a 7 Place your piece on a bak. ing tray and tert with foil oF cover with an inverted alt minum pie an, Put into @ cold oven, turn the heat up to the manufacturers recommenced ‘temperature, and bake for 20 minutes. When done, turn the oven otf and open ine door Slightly to alow the pieces to cool slowly; this will minimize plaquing, Lay this sheet on tep of 5 the shape you made in step 2, and press it fimmly inko the surface, starting nthe center anc working oul to the eogos. Wet send with 400 through 1,000-arit sandpapar and! butt, Add vamish it cesired. Alternative: For milly blue opal work a small amount of pastel ‘or light blue clay into the Fim Soft translucent; for pinkish-red. incorporate some copper leaf at this Step, and then proceed with the recipe. 6 Apply the mold release to the cabochon mold and press the clay into the mole with the covered sicle down, Prass very firmly—this will force adhe- sion between the translucent clays. Level the clay with 2 blade, if nex from the mold sary, Remove Genstones 99earrings soresly shapes eal eines rebirth Materials ura 9\che apealght orth cenelsige’, Or 100 Wi Auiibing ical vst ert Cotten swabs Earring backs Cyancacryiate glue Tool Small polymer clay molds (eabo- chon shapes) OPAL NEE PE GN PAGE Instructions 4. Form the earrings in sail sie and molds of the desires shane, ushg Cay prepared ing to the recipe. and finish as instructed 2. To ensure ad! earring arc th she clay earrings wilh rubbing alcohol to eiminate any 3. Use the glue lo etx the backs, in place prow Irene Semanchu Dean 34 Faux SURFACES IN POLYMER CLAYaad dep elliaja ‘ccs totsstes sy Elizabeth Campbell Materials Instructions Promol—CFCD6 (Transt 5310 with bleach) Plata inks Rainforest Green, Lime Green, Sapphire Blue, and Havana Brown Wotary sandpaper—aoo through 1,009 grit Chinese newsprint stamp ‘Stamp pad 7 Buffing whee! 1 Tin smal pisces of clay with varying amounts of the inks to ervate four or five sim ilar shades of pale olive gr Gewstones 35Pall each Into a snake. of these colors Z leave 36 Faux SunFaces m POLYMER CLAY er aw T et 4 The olay can then be molded, stemped, o formed before baking. In ‘his, recipe, the sullace io stomped with dark ink as shown, and then baked according to the manufacturer's instructions. Depending upon your chosen project, the clay aan also be carved after baking. Thoroughly sane’ tha clay willy 4CO- through 80- er 1 ,000-gnit werfdry sandpaper, ana then boul Altemative: Alter aking (ans ‘optional carving), you can alsa erisanco the texture of any mole ing o carving by rubbing burnt sienna acrylic paint onto the bakod clay. YWipe of any ex wih a paper towel, and alow to try completely before sancing and butfing qa ayy decorated pendant nies ng cool a creoaua sdb aeffael closer (onekat ath a iran chosen, Firbollss we ene ite dS An ar winet ta Aluminum foil Permanent pigment ink—dark eclor Tracing paper Cyanoacrylate glue Chinese coin charme—t without loop, 3 with loop ‘Translucent quid polymer clay Brass wire, 18-and 2a-qauge Brase oye pins 1 yard (9m) of ‘2 mm nylon cord—black Clasp (optional) Tools ‘Small wooden tablet forms (from the craft store) 2 button molds ‘Stamps or texture sheets Pasta machine Chinese newsprint stamp Cutting blade Knitting needle Pin vise, with bits to match sizes of your wire Jig (optional, Round-noso Needle-nose pliers Side cutters JADE KEOIPE ON PAG 3Instructions 1, Gover your wooden tablet form with aluminum foi and smooth it lightly against the form 2. Tomake the drawer, roll a Dlece of jade olay in the pasta ine on the third: Ihickost got ling, Iwill need to be big enough to cover the bottom, back, anc y up against the sides of the form and mold the seams well at the comes, {The font of the drawer idee of your form. Fold! the Ti tne open sites the form, 3. Make three smal accent beeds oy pressing clay between two button molds: you could also use clamps or pieoas of texturing rrateril. ns the appropriate mole 9¢ too! bafore you press the oad, Bake the heads and the ewer for 18 minutes at 275°F 136°C). Set the oeads aside, 4. Tomar the cover, leave the drawer en the form. When 's coo) wrap the form and the baked clay ver wit a singe th or ‘racirg paper. guing the overlap witha drop of cyanoaaryate glue Rollout a slip of jade clay on the firstor second-ihickast salting on Elizabeth Campboll Gemsrones 37your pasta machine, just shor of \e inch (8 mm) thick. The sip wil need to ne ang enough 10.0 ‘around your ‘o”m ones, and be as ‘ici as the form. Stamp the strip wrth the inked newsprint sigmp. 5. Wrap the slamped strip around the paper-cavored drawer, Bult the edges together al the back and blend the seam 6. Press a coin hie the front of the abip to mat its interdied locaton 7. Tiim the top and botlom of the strip flush with the ends of the for, Bake for 20 minutes 2 275°F (196°C), When cool, remriove the cam, slide the newy created cover off the chewer anc form, and remove the peper. 8, Stand the oper end of the dkawer on a sheet of taux jac land prose It inte the day slighlly Lo mark the gosition. Apply a thin ‘ead of liquid clay to the Ine lef on the unbaked clay and place the oper end of the drawer on this ing. Replace the cover aver tho drawor, anc slide it down 20 i's amost touching the ray clay. Qa streight down through th clay Using the oulelde surface of she cover as @ guide. Peel away 38 Faux Sunraces in Potywen CLar the excess clay and hake again ‘er 15 minutes, this tine boosting the temoerature 0 300°F (150°C) lor the last five minutes. To insure the proper fit, be sure to leave the cover on the drawer Guring this baking, but i! should be aight ajar 90: the two picoos don’t bake together 9. Yhen cool, sand and butt both pieces per the surface instructions 410. To make: a bail for the pen- ant, wrap the 18-gauge wire closely around the kniting need, forming a tube that's nat quite as (ong as the drawer is wide, Saip ‘off all butabout 4 inch (mm) of sito at each end of tho tube, then bond the excess wire straight comin, Use tne pin vee to cl tac holes in he top of the drawer, plave chop ol due on exch wire ‘and push the ends of the wre ma ‘the holes, Whon tho glue is dry ssi Gf the excess tire that remains inside the dravier o° bent the ends into tiny loons. 11. Using the jig or the ples, make & curled frame Out of 418-qauiye wite to hang the beads and coin charms, Leave about 3re inch (S mw) of streight wire al each end to insert into the crane ‘a8 you did tar the wire tube in the previous step, Dell wo holes in the bolion ol the drawer to acronmndate the wre Fame. ‘Ada! gle, insert the treme, and linish as ih step 19. 12, Dill oles in the Ihvee accent bards. Create dangles Irom eyo pins, using tha Chinese coins with loops and lhe three jade beads Clip the wire close to the jac beads anc! create eyes at the ends lo attach thern te the wire tame, 13, Take @ short length of the finer wie and make a decorative snot through the top of the oxen ing f the remaining coin; take arother short langth of wire and make & knot through the bottom cof the opening. Glue the cain to the lront surface of the cover, Lril tiny holes in the tront of the cover, put a small crop of glue en the ende of he vies, and insert thei into the holes, Pull the wire {tnrough anc trim the excess with sido outers, Side the cover over the drewer and sting the tyler cord through tne colled wire bal To finish the cord, use edlustabe knots or add & clasp, it dasired. Alternative: Make box aendant forms rom metcrbakes, too.ws a ’ CORN a = Vi QO RO IME | BALINESE SILVER he distinctiv Materials Instructions Strong polymer clay—black Mica powder—silver Cotton swab Polymer-trienaly varnish Tools Pasta machine or otter Polymer clay blade Clay gun Brushes 1 Roll out a medium thin conditioned black clay. 40. Faux Suneaces mm Powmer CLAY2 Load your clay gun with very well-concitiones blak clay. Fil one of the rourdl into the day gun, an exper iment Until you ‘ing the size you feel looks best for your form. Extrude the slay into short engihs as shewn and form them ilo swir's, Scrolls, or anything d lay seers 1 lose its Conition= 1g faity quickty. so try to form the longths the same day you extruded them. ithe lengths crack when you form’ tem, sm thet appeals to you. (Extrud recondition the clay and extrude again) Gently press them nie the clay in your desired pat er. you tke, apply additional eral balls of olay lo your design, With your finger oF a cot fon sad, apoly the siker mica powder to your design, highlighting oniy the raised areas; some of the powder wil migrate to the background ancl color it 4 Bake te clay sccorcing to tho manulacturer’s instructions and lel cool. Brush off any excess mica powder Apply athin coat o protect the mica powder, and ie dey. varnish to Menais 41Yi QAO OY CHE" finial Material Wooden form IS Heat-resistant PVA wnte glue Ep isen ova en vpate anh “fi 13H ‘Tool Drit and bitin the appropriate size for your project Paintbrush Cralt knife oF cutting blade IS SALINESE GILME FON PAG 46 42 FAUX SURFACES IN POLYMER CLAY 11 Diane Villane Instructions 1. Bake the wwocean form for 30 minutes at 278°F 36°C} to alin. ale excess mosture and reduce the chance of cracking. When the wood is ooo), ella hole iv the ‘anes 1S eppropriaie 922 for your hardware, Goat the form wih a thin layer of white glue and let ory. 2. Ral oul a mediui-trin sheer of conditioned black slay, as instructed in the recive, Cut a sin fiom the sheet the sare width 28 the lengtn of your weodon form, and leng eneugh lo go completely around it. Rell the clay strio areund the fom, being very careful not to trap air pockets between the for and the olay, Warking fram the wicest at of the orn), grasually press the clay to the form and wor ‘your way toward the ends, Ter the excass clay and smoot! the seam by pressing with your i ‘or rolling the form gently on your werk surlace, 3. Apaly the decovatve elements and rica powder as described In the recing. andl wake ard tin ish ac directedF Heron Dawn Schiller Materials Instructions | Premo!—Burnt Under and Copper ice powder—gola Too Pasta machine Paintbrueh Alternative: Liflorerit bands o! wil produce varitions in color, So you rah experiment F you prefer a mare tamahed loo, for instance. 1 Thoroughly mix the Iwo colors together, using 8 par copper, TIP: |! your Las bros spinve wll be lal Rea ently Brea pelyner eucly carnieh to-prevent thasmiba powder F bomabbing oll BRONZE 2 Alter the cay is formed oF sculpt od shape, randomly brush with the gold me of the clay owes, covering Most urface. Ifyou plan to Lust a mold, bu! with the Mika powder also, Bake at 275° (136°) lor 30 mriautes, Meracs 43Pe WPS ie green man wall hanging Scere start with the eyes. Scull tne Te wensalily of aoyme* clay one eyes by roling hwo balis of cay te Deieiaet elie Sion neste et the desired size and pressing into position on Ihe face. Make a Materials Instructions crescent moon shaped dopres Large natural leaf 1. Choose a leal (sycamore was sion in each eye. To make the (or leaf pattern) used here} to be the pattern for eyelids, roll a piece of clay to Paper the sculpture, or draw your own span the top af the eye, flatten Craft wire shape, Trace the leat or other slightly, and press into place. Liquid polymer clay design onto a piece of paper; ‘Smooth the same wilh a fingor Cyancacrylste glue save the actual leaf if you wart to or a. sculpting tool, Repeat for the ; duplicate the vein pattem. sower lid. For a ciflerent jock. use: Tools 2. Cul the leal shape from the SSeS ERE Peneil sheet of bronze clay, using the 5. Brush the clay ightly with gold Crate knite or cutting blade paper template as a guide. To mica power per the recipe: Needle toot tnake the stem, cul a slit along some of the clay color should ‘Sculpting to's the lengttr of 2 snake of bronza show Ihrough the powder, Bake Parhaviactii: clay and insert the wie. Smooth according to the manulacturer's the seam with your fingers; shape instructions. the stem as desited and attach. Use the noodle tool to poke two When the sculpture is cool, PROKZ= RECI*E ON PACE 22 des in the back of the clay leaf, ™ake a mark for the placement a UHIe toward the stom end, to accom- of the nose. Divice in hatf the i modato a wire rom which the jin: SP 808 between this mark and the comes in handy iehec plecaiWil RH. bottom ofthe leaf; make a mark when youre in this area for the placernen! of seulpting a fal 3. Usp a needle tool to mark the the mouth, vein pattarn into the cay lea. Tun Up or lum under the edyes of the 7+ Using more of the bronze cay, lobes on the leal lo give a sense sclpt the nose and mouth, I the of movement and cimension. Slay does stick wel to the baked leaf, use @ couple of drops: 4. Decide on the placement of of liquid polymer ciay to help ii the features; i's usually easiest to stay in place. 44 Faux Sunraces IN POLYMER CLayP Same Forshe nosa, rola bal bi clay a jearckop ahape and flatten one side, Pace the fattened side on thtaee, Smooth the ides, and botiom seam, and use the vptng (col ta make nosis For the upper lip, make a werlge of clay that's thicker in the middle ancl botiorn; ole il under the nose and blend into the face, Sculpt tho line that runs under 6 by indenting @ grove 17 the middle where the clay is the nos Howe ay Dawn Schiller ithe thicker, Shape the botom perten (9 the weelye into the Uppar Ip. For the loner Ip, use a salle weage with the thicker ponion on the top: blens into the face, Make a siral Ine to inaiate the corners of the math where the lins meet. 8. Bus with the gold rica powder allow ing some al the bronze colar to Bake accarding to the new features lightly remai manufacturer's directions. 9. Roll some more bi onze clay through the pasta machine on tho eaoond thickest eatting: cut oul @ partial leat shepe usrig the top part of the template, Sculpt this pattial leaf around the eyes and on [he ct again striving for a gonee of movement. Smooth the edges with your fin= FoF a. seuiping 160. 10. Brush the partial leal shanes lightly with the mica powder as Bake accerding 0 tie nanufseturer’s directions. belo 11, Use the glue to fx both ends of a short wire inte the holes in the back af the piece. Hang as desired, Merais 45RUSTED STEEL He a°F> 2» Alison Ingham Materials Promol—Gol Raw Sioa, Burn Umber, lack Siver | Wetldry sandpaper—1,000 grit | erase | Acrylic pal water Polymer-trisndly varnish—matte | Tools | patagetie | Smoothing tol, ikea pain pusher or paintbrush | handle . First, you! Sinai food grste thes ial: foront clay mixes. For the amount of ournt umber only meg grater part burnt unnber; and @ small rust mixture vall amounts ‘Small containers 1h the propostions that iollow He baeesround ete, makes Sculpting toot or small spoon Stalling toot Reo part gold rawsionna: 1 anger amount of mix trom 8 parts Artit’s paintbrush cover or pert gold +2 parts burn umber r+ 1 part bla drinking straw (optional) part gold + 1 pay Screwdriver (optional) Sealpel Paintbrush 46 Faux SURFACES In POLYMER GuayDivide the rust mixes in haf, and ake ene half o} 12h colo’ for 20 ko 30 minutes at 275° (126°O), Leave the clay youre bakisg in unis, as you'l grating 1 in a later ste Roll the steel macture EY -rrough the past machine on the thekest spout 15 limes to align ths mica pa bel. being careful to avoid ore ing air bubbes, roll smoath in your palns, and latter eighty, salting os. Seruneh the sheot inte 4 Takeo a eral piace of the Lunosked gold + bumt Liner mix, and rol through the pasta machine on tho thinnost seting. Tear oiaces ror this sheet, atanging them in a ran= dom way on ona side of the steel Mixture, ass shown. Smoot the ecg2s 6! the “rust patches to lord the cokes, using the tool of your choice. iol the steel mixture machine on the thickest setting ‘Gontmue Until the dested “hie ress of the finished shoot is reached, Thm the sheet to the aporopnate shape. 7 Starting with the gold raw sienna mi, apply tho attics to the rust patches on the sheet you made in step 8. A sinall toe! ar spoon helps as you see it the phoic, Press down the particles with your fit ertips. Continue adding the other colats of grated clay in this lashion, pusting smal areas fl one color next to + 2 previous go all “ho way to the ‘adge of the rust patches, because this application sug gosta the mozal ie slowly ru one. Dar 6 Take the baked piece of ld + ew sienna, ancl «rato it into a emall container using the nutineg grater, Repeat for cash rust mixture, keeping th ing. colors separate, Make a note to ioenlfy each colo, as they will look lighter once grated. memis 47| 8 HHyou wish, you can imitate crews to enhance the metalic effect, Using drinking siraw oF paintorush cover, oress small circles in the olay sheet. To make the heed af the serew, pres the ‘ip of a screwdriver into the center of eeth circle, as sown, and add tiny merks with 2 scape! ‘between the four points of the orewcriver impaint Bake the sheet at 275°T (136°C) tor 30 16 40 1 O° 00), sand using cy 4,009 sandpaper, Be gentle, a8 yOu want to retain 2s much of the fay texture as possible; sand only to remove any loose particles and dull any sharp pieces. 48 Faux Sunraoce Iw Pounce CLay a 7 ne 1 1 Mix up a thin wash of burnt umber acrylic paint and water (more water than pain}, and brush over the rust particles, as shown. The paint wil pool around the attorn of each patticle. Whle stil wet, add palenes of wash in a denser color, which will spread out and 80 pool 12 varnish, When dry, coat with polymerfriendly matte: picture frame ines ook osallvely arcu ng « heath niuie tema el Toi *, Stet Sees, Sinn. ged are sort ote (8 canw"aing ia erhalve sure Materic Wooden picture frame Heatresistant PVA white glue Polymer elay—serap places TLSTED STEEL REGIE ON PAGE 48 Instructions 1. Remiove the glass and backing ‘board from the frame and set aside 2. Covor tho lrame with a thin e2ating of glue, Lett sil fora few moments 80 ts almost dry, but stl tacky, 3. Make a sheet of the faux surface that’s large enough to cover tho entire {rame, bul dont yet add the grated clay. 4, Trin the sheet to the appropriate size for your frame, Firel cover the ses to the right and lef! of thePictxe oconing, inclucing their ular edges. Prick out any ar bub: ies. ang smooth the edges atthe back of the Frame with your finger 5. Before you cover the bare frame thal remains above below the picture cpaning, first acd a layer of serap clay. Use Hulk 4 Alison Ingram clay that’s tho same thieknose ae ne shoels aleady ip place on the Irame, so the entire front is level_you'll cover this scrap clay as well es the in the next ste, remainng edaes, 6. Trin pieces of the faux sheet ‘that are long enough to cover the sofap clay you just placad aoove and below the picture opening, including the remaining side edges. Place these pieces on the frame, and smooth over as beter. The top and bottom shoukl now be waleci above the level of the sides. 7. Add the imitation screws as dected in the wu fed steal B. Adis the grated clay to the ‘ame, por the ourfa pe. Bake the frame for avout 45 ini Utes at the manulacturer’s recom mended Lemporatura 9. Aftor the fram Is cool, follow the recipe to complete the ru: elect: sand add the paint wash; and varnish. 10. Replace the glass, add a favorite picture, and backhg board, Meras 49») 3k PEWTER poster w Materials Strong polymar clay—Dlack Rub 'n Burt—Silver Leat Cotton swab Sott lath Polymer friendly varnish—satin, Tools Texturing tools, like stamps, cutters, molds, or sheets Paimwurusht Instructions isha eg 6 black clay; you could also use any kind of textured abject to ‘ommbellsh the clay, Leave sight lingorprint ane! other imperfec: lions in the surface to crecte aisvessed br aged epee nee, Bake according to the manufacturers instruc ns, Let cool f Ws.ar fy ey Meather Roselt eotion fat oF your fingertip. ross a paper Wipe the oxees: towel, and then rub the ccoted clay object with 3 faity dry sna or Iinget, apelving color eniy #0 raised areas, not the rmaressed surfaces, Aliow the wax com pound Io set for about 15 min- utes, Bul lightly with soft lotr 4 Coal the surface wth a palmer friendly varnieh, Then, bake for another 10 rr (see to set the finish Alternative: For a diferent lack, attach raised objects that are from sculpted, molded, or ou Hack cay, 1 ‘for eoneiticning, stamo Lda a iny amount oF t images or syrmbols into the siber wex compaunts on a 50 Faux Sunraces in PowvMen CLAYwine stoppers 2 alae sogpene wl aod an coat isering tov to yo ne ret cary Gia a sree ccumee SeOPer sradk or eer fr a> eet out Materials fools Instructions | Wine bottle stoppers (from a Pasta machine {for the stopper at right, below) Eichen supply crtelog) Cutting biade: 1. Unscrew ine lop of t ‘Sheet of card stock Hob Heather Rosell Meraus 5152 FAUX SURFACES IN POLYMER Clay wine stoppers 2. Covor the ton of the stopper with a sheet of black clay tolled to ‘he thickest setting on your pasta machine. Cuit the bottom edge hush with the stopper, Stama as directed in the surface recipa. 3, To make a decorative top ale ment for the stopper, rol a bal of clay approximately 1 nohes 8 ‘om in diameter. Form a bicone shape, then cut away the bottom point to Ration. Apply hauic clay to tne fatlened bottom and press ‘onto the top of the covered bottle stopper. Use the stamps as speci- ‘ied in the recipe notructions to embellish the top ot the stopper. 4. Tum tho small pot upside down, place the threaded end of the bottle stopper into the hole in the pot, and bake al 275°F (196°C) for 90 minutes, Turn the oven off and allow to a0! slowly. 5. Apply the wax compound and Jinish as directed in the surlace structions. 6. Reassemble the wine stopper. St bel oo *. (for the stopper at left, page 51) 1. Unscrew the top of the stop: per from the bottom section; tho top of this stopper has a flal chrome edge on the bottom. 2. Cover the top of the stopper with @ sheot cf black clay rolled ‘to the thickest setting of your pasta machine, Taper the edgo of the clay al the bottom of the stopper, and out the bottom 0ga of the clay flush with the stopper. Stamp as directed in the surface recipe 3. Bake the covered top of the stopper chrome side dewn on card stock at 275°F (136°C) tor 30 minutes. Turn off the oven 10 00) slowly. 4. Apply the wax compound and finish as ciracted in the surtace instructions. 5. Reassemble the wine stopperCOPPER VERDIGRIS Ride Derresngued anal leering slit sarlaventhats sling Tau antique copper Fore cor arr Fy Alison Ingham. Materials Instructions Premo!—Burnt Umber, Gold, Copper, Black, Sea Green, Alzarin Crimson, Cadmium @ | Yollow, and White | ee ane sms & Toleum powder or cornstarch ‘optional | Folymer-tiendly varnish—mette | Watdry sacar 3000 grt 1 lent by ry tasthemaieraverigis colorby (optional) colps Fist, creeteabase thoroughly mxing 4 paris sea | color by thoroughly mixing 2 grean + 1 pal alzarin e”imgon + aris burntumber+ 1 par gold 1 part caelmiurn yellow + 414 Tools + | part copoer parts white, (Adlust the colors i Pasta machino you want to make the vercigris “ols for punching fike a stylus) Make a siral amount of lars lghtor oF carken| You'l also and smoothing (lke a paint epics bys BUTS heed a sinail amaunt of blac pusher) mixed base color with fwice that equal to. the arnount at the ‘curting viace amount of black: verdigris mixtures Roling pin, acryle rod, or brayor Wo (optioned) Paintbrush NMevae 53ge 2 Fall the base sheet mix 6 Roll out tne blak clay to ture to meciur thickriss tne thinnest sering on tie ta machine and place on a on [he pasta machine, (If you B want lo rake a project that il smooth work surface. Roll out tha result 1 the copper verdigns vordigiis nix to the thinnest set being used! as a lat sheet, cul off ing on the pasta machine, and about a quarter of the sheet and lay this sheet on top af the black eel. Roll the sheet thinner 20 Le one side. Soo the detailed Instructions on pag: a rolling pin, anel Lim se | you can't see any blacks olay Les = albUNE tool (¢ make rendom 2, Pere ena aeat for ps nei sel and soe step Zona smooth work {he edges as ii step 3. Carefully surface. Start in one corner anc place tne da’k copper shee! on top of the b: remove ram your work surface with the blade. ce shyeol, str 0 other of the base sheot with the dark eepper overlay you mede it 15. St cently as you press It down, just Roll the dark cooper mie ae you did in'slep 4. Ht may tear ture to the thinnest possi . tS very thin, a p digits. You can ado mors piscas of this heel as you work surface, and use a blurt ‘wish, but ing not to overlap the tool to make randam hoves in ch Pew igrs choot Blo setting on a pasta machine © F HeNes OF Lay the thin sheet on a smooth vercigris sheet 2s you aopW ik the sl nq the edges, 5 Using 2 smoothing tool . ¥ eel and al as shown, Use the blade to biend the edges of the base carefully remove the shea fram dae capper sheet into the work suriece, sheet a6 shown. Use a roling pin of brayyer te sinooit) Ihe surface, Set tc ono sice, 54 FAUX Sunraces im Pouymen CLayl 8 Use a smoothing t00! to bere! the eelges of Ihe vercigrls shel into th shoot, as in slap . Use a rating ain fo smeoin the surlace, main Rol the sheet through the imecium sotting. Roll through pro- qresively thniner settings cn the pasa mechine, stoping when ‘he verdigrs color begins te blend and look thinner, To use in a mold: 1 Prepere your maki oy dust ing it with talcurn powder or comtarch as a release agent Lay the sheet, verdigils sive somn, over the mold, as shown use some scrap bay to filin the mold, if necessary, This thins the vercigns even more, onhancing the look, Remove tram the mole and trim the excess clay, Bake the molced piece as recomimenaes by tho manutacturer, Once coal, apply a thin wash of burnt umber acrylic pains, just enough to Let it colest iin the grooves, and let chy. The wash gives he vercigris a slightly yeener look and enhances the jetals of amolded pace. Once dry, apely polymer-triencly inatte varnish il deste To use as a flat sheet: 1 Roll out a sheet of base color mix (which was set aside in step 2 on page 54) to medium thickness, ard tay the vardigis copoar sheat onto this shesl, verdgris side up, Continue roling this sheet through the paste machine one or two steps thinner, oF until you ike the patina, Don’t roll ie sheet too thin or the verdigis will beeome too pale to be effective, 2 Bake the shoot az recomimentied ty the manulactines lo-enhance the took of a Siac ih 1, 000-arit weticry sandpaper, This removes same sreae of ho patina to crate Since rea copper matte tn citer Insve the surface a8 i mottled ollect voroigrs ni or varnish it with polymer frendiy matte varnish Mere 56fish napkin rings In Chinese trict ies to your reat galher Materals Fine-gauge craft wire Polymer clay—serap pisces Talcum powder Mold of your chotce Paper towel ibe Wot/dry cancpaper—1,000 ‘rit (optional) inches (5 cm) wide Scalpel GOPHEN VexDIOHIS HEGRE oN race ca 58 Faux SunFAces in Potyumen Chay sr ioe las aura srl toothy Jt ese moles paddin “+ Instructions 4. Wrap apiece of wire around the bottle live or six times and wil bo ‘wis! the ends together, thi the base for the napkin ring, Check that you can remove the col of wire later by siding ft to the bottom of the jar, or you wil to smash the glass! Adtust the tightness of the wie if necessary ve 2. Using scrap dy, make several test pieces from your chosen Mold to see how many moked ppicoos you'll need to make @ complete ting. (In this projest, each ring is composed’ of two molded fish} Place the last ppleoes around the coil, ancl exany ine how well they Mt together: 3. Gnce you're hapoy with the ozign, make the necessary number of molded pisces from a sheet of faux copper verdians, Gently lay thesa piecas over the vite col in the same pattern es Your test pieces. Don’t ptsss too hae! or you wil obliterate the tails of your molded pieces, stio to but be sure the pi the glass botile, too, Orie you are happy with the arrangement bake the ring on the bottle for 20 minutes al the manu‘zeiurers recommanded tamperaitre 4. When carefully siding the around the inside of the ning 10), feniove the Ting by 5, Decide on @ colar for the ingide of tho ring; thesa are dark copper, Rl your chosen clay to # medium setting on your pasta machine. Then, with laleurn pow devon your fingertips, press the strips over the we: inside the fing, Shee thie stop je 6 bit tricky start Yorn one ed of each stip ard work your way along, 6. Once the inside 's covered and emecth, Use the scalpel te trim off the excess clay. Apply more powder to your tingertio ancl moath the unbaked clay to the inside of the napkin ting,7. Beke again for 90 minutes, placing the napkin rings. on a. pape” iowel tube far suaport during baking. send the edges ifn using 1,000-grit wetfa } nt 9. Apply the paint west ari Tinish as indicated in the recipe. > Alison Ingham Mews 57 oeaioe Ul RE Natural MaterialsMaterial Polymer clay—beige, white, gold, and translucent Ss Weary sanding sponges— fine, superfine end ultra fine grits (or the equivalent wetldry sandpaper) ‘Acrylic paint in your choice of “dit” colors—raw umber, burnt umber, black, derk brown, ote. Paper towel or rag, Tools Paste machine Cutting blade Fling pin or acrylic roa Texturing tools, like a stylus, pins, sewing needles, screws, or similar objects Linoleum block cutter (eptionst) Butting whee! Lark es ya. Lat Laan Ut Instructions 1 Theroughly mx equal ariounts of the beige ancl white clays 10 create an ivory shade: hen acd a emall bt of gold far en aged bone appear: ance, dosired. Rall imo a sheet using ne Ihiskest setting bn your pasta machine, Rol the trenslucent cay into a sheet the sane hokness as the “bone” cay. Lay iho bene hoot cn top of the al and tem the solange rranslucent sb edges to make 8 BONE | Uietine layers of dillerestl glared dle rowentbleahe lin Told ateoe bingy acl wld of extremely fine Cut your rectangle as shown, in any layers that overlep significant, Narurat Marenas 69)4 Use the roling pin or aonyic rod to gently but fimyy rol the stack of clay, Tun he slack so you stretch Lequally inal directions, and use your fn gers 20 gently slroteh the stack so itmaintans a square or rece tangular tom, Meke sure the stays a uniform thickness stacl throughout. When the stack i stretcher large enough to cut in half eqan, do so with your cutting biade; as shown. 5 Stack these hwo layers and nily maniaulere them) so al the edges align as much as possible Tem, roland stretch this stack as in steos 3 and 4 As you tim, examine the cross-section of lavers. When they areas thin as you want but stil clearly visible, steo she process, If you cantinue too ‘er the graining wil become loo fine for the eye to discem. Sica off cress use fh your progels, ions of faux bone to TIP: liv a whiter ivory, reduce the amount of beige and increase the amountof whive.or use equal amounts of white and transla Bees dogebee titade heute a soft olay, which gets mushy quickly when harelled you ean let the finished black leach overnight. 80 Faux Suaraccs In Pourmen CLar 8 To create pattems and designs in your ieos, mark the clay with your texturing a8 shown, ane bake. Or you can bake the object and then ccanve with @ linoeunt alock cuter ‘whan the olay has cocked. if ne essary, wel-sand with the sponges or sandpapet. too Use your lingers to analy a coating of the dark servic pant to he baked olay, being sure to work @ into the crevices of the: markings. Wipe off tha exces gaint mith a paper towel or rag, 38 shown, and buff the fished sure face when the paint has died,Materlals Polymer clay beige Plastic wrap or parchment paper Aenyle roller oF brayer Kiting needle or similar tool BONE AEF ON PAGE 53 Instructior 1. Rol raiile-sizeo y. Cover these with thin slices hands t@ smooth the face, 2. Genty flatten each ball. To do the ball into your prelerec! shape (roung, this every, first ri 1r> Luann Udelt balls of beige bone. Rall in your cupped ove, €¢,), Sel iL on your work su | ‘ace, Bnd press with your fingers (0 fatten sightly, Pace a piece af plastic wrap or parchment pa on each button, and fletten ma with @ roller oF brayer, 3. Use a kniting needle, penal tool ta | point, oF otner pon: wo holes n eae! make Flip he but around the ext ho} 4, Add texiure to the surface of the buttons and fish per the bon To oul down er ever eliinale sana 2 the bul pi fons on your baking surface, lay a pioce of plastic wwrad or parch ment peper on top of ea fut- ton and gently stroke the surtace to smecth il. Stroke with enough pressure lo eltrinale fingerprints, st you obsiiter- but notso much ato your toxturing. 5. nd fi fave recipe, U only ish 2 these hutions the Bake on hand-washable ma, fas thoy can't withstand the heat of tne wryer. Narunat Marenials 61| ABALONE Since abalone eqn rflevt aL its most hei ECR HALT | Materials Instructions Premo!—Pearl and Black, 1 Begin with the pearl olay Sanam Plus several colors of and mix in a litle biack {yout choosing, ike Blue Pond: Gran Rest Gtea, day to create a nice silver, Add ‘ang Purple small pinches ol black to the peed Oil paint—biack unt its a shade you ike. The ri Wet/dry sandpeper—200 sod for this surface is about + ‘rough 800 grit art black, Polymer rianly varnish (eotional Tools | 6& © Cutting blade | © | [ee ay | port pear + Yer i = Ral out ho esor mie Trees using tho ayer or pasta machine: mak che Brayer or pasta machine Paintbrush handle (optional) Ripple blace (optional) Buting whee! 62 Faux SuRFACES im Powvwer Cray 2 Divide the silver mixture into sspotions equal to the nutri ber of colors you plan to use, Leave ‘one section silver, bul tint the oth- ers by ring in small pinches from. each of yaur chosen colors, about Ye to Wis inch (8 mim to 1.6 min thick. Varying the thick: ness of Inese sheets helps pro duce the gonuine abalone took in the {inal surface.4 Cut or tear peses out of tne sheets of clay thal are abou! 2oy 3 inches 6 x 7.8 om) \ityou'd ratner tear the sheets, anc the clay wants to stretch rather than tear, let it eool downs, toss it into the freezer for about 10 mnutos i necessary) S do one piace [ary color) to use 1 $i60 6, Then, ‘andomiy stack anyanete from two to we dltfer ortly colored squaras to creale a number of ernall st snow. L's okay to oocasionally saat the same color as it will nd of ust make a broader 2 ‘dor in she abalone. Smear avery very smal amount of tha blacs ol Paint on top af each stack, Don't aint the shoot you se! asi: i the previous step. 6 Now, layer the aisted sac other; place the unpainted sheet 9 top ol these. Press from the toe (hete the sheets to ane another Make indentations ay soking your fingers or ku (era tool lice a painibrush handle} in rem the top and bottom of the 85 shown, Let the stack rest ane enol before icing oross the top in mokume gene style. Try slicing with a regular blace and with a rippio biace to see which gives the most realistic affect h the paste machine agai, if desired—this Produces muted segments of 916" In the final aurtece, (Te use as an inlay, apply the slices fro the abelone stack to a back- ground piece of olay and cut into Ive desired shapes, See the 210, ect instructions on page 64 tor more information) Boke accord ver's ul ing to the manufac! lions. Wet-sand, bul, and varnish the final project as desired, NATURAL MATERIMLS 63mosaic egg Hobe? nie coun rk Roa LLL 1 Gu ste Materials Blown natural egg, wooden egg, or plactic ogg Cutting blade Shape cutters (optional) Translucent liquic potymer clay or heat-resistant PVA white glue ALONE BLCIPE OK AGE Polymer clay—black ae Pt ME _ 2 — 00 © Chryse Laukkonen 64. Faux SunFaceS im Powvmes Cay he o9g by apphing ase coat of liquid clay or gue 2. Cul slices trom the abalone ste nd make a shoot of adhering together al tne edges of a shee applying the Screg y, oreatting a vened 21, Rall through the pasta machine lo a medium thickness. 9, Using cutters or irechand, cut out shapes fron the sheet and apply them to the egg, leawng son in batwcon the pines Bake according to the menwfeo- turer’ instructions, A. Allow the it sci complements this faux abalone n to cool and her nother calor; black woll, Simply press the clay berwed Ihe shapes and smooth, Bako again aecording to the manulac: turer's instructions, 5. Allow the egg to cool. Sand an finish as descrived in the surece TIP: Il you use a eg¢.slice it open after the Bret baling and remove thenalied placel Cork Thacieahinajiesises chopped rnctalie polymer olay to imitate the characteristic texture of cork Wor conf 21 Hb 6 Irene Semanchuk Dean Materials Instructions Premo!—Gold and Eevu a i = Wotiry senapaper—aoo ana ’ a Lo Tools é Food processor ‘Sheet of lear acrylic = | Brayer or zerylic rod Mix 8 paris gold + 2 parts Pasta mechine ecru, Roll the okay mixture _——— into a sheet and place between Tear the shea! of polymer two pieces of white papior to clay into strips, and then leach (see page 14). Allow it to tear tho strips into small pieces, teach for al feast several hours; Toss these into tlie bow of he ‘ovorright is okay, too. Tho paper —jood gyacssor, and run t in will absorb some of the plasticver — ghert bursts Go you'te able 10 see Inthe clay, which will make tt the changes in the clay: f wil chop moro finaly inthe mextste0. start to form small ball, ke ‘those shown, and the more the clay hess heen leached, thesmaller the balis wil be. Srna ploces will bo more effective for creating an accurate faux cork. Pour the chopped polymor onlo a sheet of waxed paper, Set aside a small ponion of the balls 10 filin the gens lata, instep 6, 3° With your hand, spread the chopped ciay evenly on the wax paper Press it gently into place, and fit larger open areas with sorne of the bats from the cages. 66 FAUX SURFACES IN POLYMER CLAY Place another piace ol Wax paper on top of the clay, and place the acrylic sheet on top of that. Press siraignt down, enough to slightly flatten lhe clay. Remove the acrylic sheet and wax paper. then gen- Ly roll over the surface with a bayer oF rod as shown: this wil flatten the clay enough t0 go through the pasta machine in the noxt step, Be sure to roll in two directions. perpendicular to each other, 80 you don’t push the clay too far in ether direc tion anc lose the effect of the flationed balls of clay, 2m, 6 Use the bals you set astia in step 3 to fill any open pages, Rol the shost throug the pasta machine at the thickest setting. Turn the clay 90°, set the pasta m ‘one notch thine and rol the clay through again, Alter baking, wel-sane: ‘with 4O0- and 600-or sandpaper: Don't move to higher ‘rts or bul the clay, because you on'l want this surface to shire.Materials Plascor metal switch plate Heatresistant PVA glue AC ON PA snl sopea 79 these srple ssitah Create meaty of imase uri Tools Pasta machine Brayer (optional) ‘Small circle cuter or drinking straw Craft knife ssc irene Semanchuk Dean Instructions 1. Cover the switch plate with a thin coat of glue and set asics to dy. 2, Prepare the recipe for faux ‘cork, When you have run it through the pasta machine to a medium thickness (turing 90° after each pass), carefully place the faux cork sheet on the front of the switch pate, alowing the sides to extend beyond the edges Of the underlying plate, Press ‘gently cutvrard trom the center with your hand or a brayer, push: ing any ar bubbles out the side, 3. Remove the Gay from the screw holes using the small cicie cutter or dhinking straw, and cut the clay out of the togate holes) vith the cratt knife 4, Bake the switch plato at the manufacturer's recommended temperature for 20 minutes. 5. Allow to cool, and sand as directed in the surlace recipe, NATURAL MATERIALS 67MOTHER- OF-PEARL rl ea eenplaoned vith sellgeel inion redo fe ay wotkin be singed g8 choose the shades: Conpooarnar> > Elizabeth Campbell Materials Premo!—Peert Powdered Pearle—various colors such as Carnation Pink, Yellow, Turquoise, Fuchsia, and Pear Dust Wax paper WetVdry sandpaper—400 ‘through 800 grit (optional Nitrite gloves (optional) Tools Pasta machine Cutting blade Brayer o acryle rod a Seastiy mole Naa yapphing Ss Ore lds edgn ft, Repeat 101.20 Buffing wheel powders. (f you prefer a pale limes—as though you were mak mother of-poan, with barely per: ing a Skinner blond —until the eal- eas ceptible color, use very litle mica ors ave distributed through the powder) Fold the sheel in halt pearl clay 8s shown, Ieaving suit fram bottom te top, and un lle abipes of color. Shape custers (from a craft store) 68 Faux Sunraces in Porvuen CLAYthis stack with same kind oF thin prettier ones. When the clay has tool-a paintbrush handla or a built up to a thickness about the credit Gard bent into. "U” shane same as the thiskest setting on works wall (The distressing your pasta machine, cover the should be nol be 28 pronounoad clay with a secon sheet ol a8 inmokume gene) Compress pane and roll over it with er Ine Steck trom the sees to make acrylis rod oa brayer to stick. it taller, ancl loti rest, the pienes together, 2 Cul the sheet in two, and stavk one pieoe on the the so the colors don't line up. Puta pioce of wax naper ever he clay and roll aver if to adhere Reinave the paper and 5 ‘un the dlay through the tnickasl selling on the pasa machine, tum it a quarter turn, ‘andi run ft through a the next setting, Reaeat anc stop at a medium thexness setting. che two sheets, Cul this sheet cence longthnise end tworthoe i mes wivthwse, and stack again, hs Cemicfads end stitch this'stade : 6 Mother-af-pearlis offen vwih your herds as shown it used as an inky. However, to use the entire 4 Cur very thin and iregular sheet, shape the clay or cover slices from the 1op of the an abject and bake according to block, Luin them upside down manufacturer's instructions. and arrange them on a piece cf Allow to cool, then sand with wax paper, as showin. Keep the 400+ through 880-97 sandpa- pattern Ireguiar, and cover the per and bur tightly on a cotton Jegs-than-beautitul slioes with butting whed Cut the stack into quar tors, re-slack ard com: ain. As shown, disiross press » Narurat MareRIALs 6970 To create shapes tor inlay, place the sheet or a cotati tile, Gover wilir et piec of paper, and rol over it gently 20 it welladhered to the tile. ‘Gul the desired shapes with pullers, as shown, or with a cuit ting blade. Peel up tho oxce Gay and bake the shapes right on the tile, Because the shay will be inlaio into unbsked c'ay and re-baked, the intial baking lo harden the shapes should be no longer than 10 minutes at 275°F (196°C); longer may cause the peatl clay to yellow slightly, When the pieces sre pol, you ean embed them in ay weit raw ul smearing FAUX SURFACES IN POLYMER CLAY starting their shapes. Beko the nished pieces wath the inlaie) clay acaprcing to the manufac turer's drections, or about 30 minutes at 275°F (186°C). Sand and butt ee in step 6. TIP: sulntued (hia espe This artist who Motch hasdl lays diaqudier bee s pearl Pp fog ie Lnperin elec eter box with inlay sal re conlaivor hea ory yc rast cherished eossess! exsuisits oo bs butt 9-0une er wal eaok 9 efor end eroeliereed ye gre pa Intec Materials “Tracing paper Cyanozeryiate glue Premo!—Black Liquid polymer elay—biack Wetidry sandpaper—320 through 1800 or 1,000 grit Tools Oval cookie cutters, one in the dasited size for the box and fone thal is the next size larger Cutting blade Round and teardrop shape cutters, in the two smellest sizes available Ceramic tle or piece of glass Paota machine Grattknite ‘Small acrylic roller Tweezers Buffing wheel HO IMEK-OF-PEAHL RECIPE ON Pace 62Instructions 4. Cula shi Ham your prepared Sheet faux mother-of-pearl ened apy {10 ore side of the sinater oa: cookie cutter. Smeeth the cay wol onto Ihe exten of the shape ions hte the mother-ol perl sheet on one ede of th ter, Bake iay on the coade cut Saat 275°F (136°C) 4 40 minut * coal. (Bakin those design ole nenis on the cutter will alow them to form to the eure box.) Remove the str baked clay when cool and leave itinv mont gui vall provide a place: 167 decorating the ouside of the Gx, 3. Aaherg the mother: 251 Of YOU Sheet toa Flizaboth Campbell cu! out en oval wth the larger cookie cutter: Using the shape cutters again, stamp out a fr design within the oval: these the lio lay, leaving the igh slomants stuck to the te, minutes at 275°F 588°C) ard allow to cool 4. Wrap the stnaller cookie cut with @ single thickness of acing paper ard glue down the overlap en the outside with = anoserylate give. 5. Rolla sheet of bleok polymer clay an the hickest setting of the pasta machine, Fram this sheet, cut 8 strip that will caver the sides of the sinaller cavkie | cutter, Altix ihe strip to the cut lor and smooth together whore Ihe two edges meet, Eliminate any air buboles, 6. Inm the cay at the bottom of ter flush with the cutior the bello of the 2, To max ox, set the clay covered cuter on anethor shoet of bi and cul around the outside with a. craft knit, Li the clay-coweres cutter with the newly eul boltem Nerunee Marcas 74box with inlay inact and use a smail oiler to meid the seam where the sides: join the bottom of the bex. 7. Bake the clay on the cocke cutter for 20 minutes 275°F 1186°C). Remove the clay fron the cutter whil ifs stil warm 8B. Let tho box cool, and apply a second lnyor of black clay Mako sure that this ouler suriace is smooth anc hee of ar podkers: Romovo the flower motifs from the strip of Faw mother-of-pearl that was baked on the cuter. Use the stip as a placement guide while you apply tha pieces to thar corresponding piaces on the soft outer layer of black clay. \Whon the piodes ara placed cor rectly on the front of the box, push them Frmiy into the olay Luni they are flush with the sure face of the box, Rol over the sur face wath a smal foller to smooth the surfane and eliminate some sanding latex 9. Brush the inside of the box with black liquid polymer clay, lowing it to nool in the corner otwoor the wall and floor of the 72 FAUX SURFACES m PoLvmen CLAY box. This reinforces the box and leaves a ratte finish on the inte= rior of the box, sinos it's very difficut to adequately sand andl buif these surlaces, Bake for 20 minutes at 275°F (136°O), then boost the termperalure to 800° (150°) for 10 minutes. Lat cacl and sal aside. 10. To make the top oF the box, roll oul a shoat of black eiay on the thickest setting of the pasta machine, cut il in hall, and stacks it to make @ double-thick sheet. ‘Aghoro this sheet to’a te, and lightly mnarks using the larger oval cutter, Remove the smal fk and leaf piecas from the tile you baked them on in step 3, and place them within the oval cn the black clay you just marked {Tweezers will be halotul here) When the design is aerarged to your liking, push the pieces firmly into the black clay, leaving them slighty raised from the surfacs, Use a roller lo level and simooth the surface, Use the larger over ‘cockio cuttor lo cut out the ld. Pel away the excess clay ancl bake the piace for 30 minutes at 276°F (136°C) 11. Rall another sheat of bac clay and use the smaller oval culter ta cut a lange for tha ka. Apply a litle black liquid clay to the inzide of the lid and canter the flange onto the inside of the id, bang careful 10 eiminaie ar bubbles anc! to wipe axay any seepage ol fauid clay. Bake fer 10 minutes al 275°F (136°C), and then boost the lemperature + 800°F (160°C) for another 10 minutes. 12, Sanne the box and thes lid ct with rough 320-gat 10 remove the intial imperfections Continue through many grades of sandpaper as you wish in preparation for buting, Arter sariaing, first buf the box al ow speed and firm pressure, and ther at high speed with just 3 bit of prossure, Alternativo: If you con't havea buffer, you can use bwo oF more coals of glaze 10 bring oul the color and sparkle in the mothar of pearl and voploate a lacqused appearance for the box.er ame LEATHER [witace textured leather with hovel bullivgs any sanall Haws willl oaly add te the nealisin ol the sx Jo) Gall eat P= frene Semanchuk Dean Materials Instructions Polymer clay—copper a Aerylic psint black Paper towels Rubbing aleoho! Tools. tems io create toxture, uch 238 rubber stamps, leather tools. or texture sheets Sot cloth Add texture to. sheet of Obsorve the pattoms and Gatic copper oclymer clay, designs used cn real leather and. aS shown, creating ether an choose your texture according. indented or a raised toxtue: NatunaL Marenacs 73)20 10.80 minutes. a when cool, use your ‘in (eS 10 Apply back acrylic peint to the toxture. rubbing it imo all the crevices and ndenta- is, Remove Ine excess paint immediately with a paper towel bul dor'l rua tos hard or you'll romave lao much paint 74. Faux SUR=ACES IN POLYMER CLAY 4 as jong as il lakes 1 wash the paint off your hands. Apply a small amount of rubbing aleahol 10a paper towel anid vat it over the surtace of the paited cl Rub and daa vory gortly to remove most oF the paint from the raised areas, leaving a subtle coloration: When the aleonol has evaporated, butt hard wih a goft Cloth to eave a sheen on Ihe race. howl, macetrar a rata cf ectLal cyanoacrylate glue ‘Small amount of polymer clay—silver or gota Acrylic paint—black Tools “Tiny cisie cuter or drinking straw Painborush LeaTIES AECIPE ON PAGE TaInstructions 1. Creato 2. Place one shool, textured 5 leather with your desired texture down, on your work surface; the edges Ifyou won! to make a pattaxn, but don't tt carefuly place the pthe ust ye textured side up, 69 top. To mold using ‘ern lronds, see the begn, siluale the top sheet ar ‘rect $ on page 14.) 2 eage, andl with one har, Irene Semanchuk Dean hie smoothing and pressing gently into pace with the other nang, If any air pockets er but bles are vis le, gently press hen putwerd to the skies. 3, Cul this doub ay into a equate. Prich d, toxtured lab of the eciges together at each cor ner SO the sites Of the square cup upwara. Crimp gently, 80 ‘ou don't distort the texture Use a il drop of cyanoacr late glue to hold the pinched cores in plac 4. Roll te siver or gok a thin sheet, ay mo to represent rivets holding the corners jogether, Sat thom 40 on each comer of the bowl, opposte one another, and press to adhere, 5. Bako at the manulacturer's comrnended temporalure for 20 rnin men cool 6. instructions to apply pant: buff as faliows th recipe od to finish, Paint the rim ol the bow! with black acrylic paint Narurat MareRiaLs 75BURLED RED MAPLE another wonderlul eller Materials Premol—Gold, Fuchsia, and Cobalt Bue Yiax paper Wietidry sancpaper—400 through 1,000 grt Tools Food processor Piece of clear acrylic sheet Brayer or aersic rod Pasta machine Butfing wheel 76 Faux Sunraccs iv Powwen Cay Instructions ving parts gold + 4 part cobalt blue lay in the fol 1s fuchsia uit oP rene Semanchukk Deen Tear or out the polymer lay into chunks niin the fond arecessor oow ort bursts, fas formed into id pul Fun the machine in unt the clay amall ballsmer cnte a shel of wax Set side a smal portion 1p bal to flin gape later 3 Dump the chopped poly pap i 4 With your hand, spread the shopped clay evenly fon the waxed paper Press it gently into place, ang fin larger 96h areas: with sonte of the balls ‘ror he edges Placa another piece of waxed paper an top of the diay, and place the acrylic sheet on lop of thal. Prass strsight down, enough to fatten the clay sightly as shown, Remove the cnc sheet, then gently rol over the surface wilh a brayer ar rod 16 falter enough to go through ihe pasta machine. Be sure to roll inl twe directions, pemendicular to.sach other, so you don’t push the clay too far either way and lose the elect orealed by Ine Nat toned balls of clay, 6 Remove the waxed paper ‘and use the balls you set aside in step 3 to fil many open soaces, Roll the sheet through the pasta machine at the thickest selling, Turn the clay 90°, set the past machine one notch thanes, ‘ond roll the clay through again, 7 After forming, bake accorcing to the manutac- turer's instructions and sand with 400. through 1,000-grit wet/dry sancpaper Buff te a high shine. Narurat MarcniaLs 77lidded boxes Test 0K Trane's 904 he A Scant woe prezec 4 eonDIet KD te Materials Form forthe box, tke & paper towel tube, mat board scored ard assembled into a square, or a thin metal sheet formed into desired shape Paper Masking tape Drywall sanding serean (optional | Wietiary sandpaper—a00 through 1,000 grit ‘Tools Pasta machine Cutting blade Buffing wheel BUHLER RED APL RECIE . ON PAGE 76: 7B Faux SURFACES IN PoLYMen CLAY ay xe hile lumed lion eee rok and rusica insturects, Sul sou lang skilb ooo Instructions 1. Wrap a oisce of paper tightly around tha form, pacuring 4 with @ piece of masking tape. This will permit easy removal of the clay ‘roan the form. 2. Chop and propare the clay as per the recipe, Rall itinto a sheet tong enough to wrap ance around your form and as wide as your box will be fal. Wrap it around the form, gertly aressing to conform fo the curves or angles. Cut a butt edge and smooth the sean with short strokes of your fingertip. 3. Bake for 20 minutes at he manuiacturar’s recommenced tomperaiuo, Allow to ooo! and vornove from the form, the top ‘or bottom edge of the box is not even, sooth it by stroking it on a drywal sancing sores 4, Rall another sheet of faux burlad red maple lo the thickest setting on your pasta machine, Place the bakeo box upside down onto the sheet of clay. Use the sides of the box asa guide and cut a piece for the lid that is slighliy larger than the box. Set the lid aside, top side down.5, Place the clay box ents the made by the rin; center the the base to create the boltomn oF sheet of olay in the same orie flange onto the lid and press. the box. Smooth the seam tation as in lighty to achere. igntly to ea 6. |n yot another weal ol clay, the inside edge of the mark aroa on the ang the i for 50: 2 the box right 4). Press gently to adhere When it's cool, wet-eand and bulf and trim around on a wheel Add A AX dev iy ey A@hedahee AslAb| s Vid VALAd hyd yt). SYD) *)Y Oy ANY AYA | hyo" bs frene Semanehuk Dean Nevunal Marcniats 79Materials Promol—Fuchsia, Zine Yellow, and Black Mold release Wetidry sandpaper—200 ‘and 600 grit Soft cloth To Molds that simulate the deep carving of real cinnabar Sculpting tools of your choice structions 1 Mix 6 parts fuchsia ~ 1 parl zine yellow + a tiny pinch of et red of genuine cinnabar, create the vivid LIL. Irene Semanchuk Dean 2 Apply mold release to the molai, than press the olay info the mold. Remove. As shawn, add indentations with > enhance the sculpting toc carved! effect, if i the manufac: Bake luter's recorrmended tent poralure for at least 20 minutes. care CINNABAR This hancsome surface ppears tirhave: been meticulously carved from pnnabar instead its malded froma mixture of 4 When cool, wel-sand wh 400- rel 600-grt sandpa- by hand with a soft cloth ther hrands of clay may be suitable for this formula. as Ibegeag lial not too matte, Rocks & Stones 81Irene Semanchuk Dean 82 Faux SURFACES IN PoLYMeR CLAYMaterials Heat-resistant PVA white glue 4 rectangular wooden plaques, 2 large and 2 emall (rom 2 cratt store) Wex paper (optional) 2 metal bookends Acryl paint—red Foltblack Tools Paiibrushes Pasta machine Craft inife Texture sheets Seulpting tools NARA REGIE: Instructions 41. Coal the front, top, and sides ON BCE 8H of he wooden plaques wth gle end jet dry completely, 2, Rolla sheot of tha cinnabar ‘ay to a medium thicaness or the pasta machine; it should be lorgor than the sinailer weodan Slanue. Place the olay onto the smal plaque, pressing to adhere itto the wood, and smooth trom the vener outward to eliminate sir bubbles, Use a sheel of wae paper to prevent fingerprints, if opsted. Wrap the clay over the lop and sdes of the plaque, pressing gertly into place, Trim the excess clay trom the back edges and from the bottom, 3. Use taxture cheats to apaly texture to the olay on the smal plaque, working from the outer edges in lowerd the center, Use souipling lools to indent addi bhomal texture if desired, as in step 2 of tha recipe, Repeat for the other small placu. 4, Bake the smal plaques al 205° (186°C) for 15 erinutes. Ten! the clay with aluminum foi to prevent ror darkening. 5. Repeat stops 2 and 3 to ¢ ard loxture both of the larger plaques, remembering that the ‘center ponton of each wil be covered by a smallor plaque. yer 6, When the email plaques havo cooled, place them on the large Planues, centored leit 10 right ‘and flush with the bottom, Trace: around the perimeter wth a craft kate, then remove the clay rom beneath them. Apply a small amount of glue lo the uncovered jpabk o! the snail plaques, ancl set them back into piace on the largor ones, Allow the glue to dry Jor aboul a hai! hour 7, Whie the glue & crying, create many small decoralive elements, Using a veriely of motes, Adding Imany pieoas wil create the effect of a large block of carved innaber. Apply those directly to the covered suriaces of the Plaques, pressing fimly into lace and using a rubbertipped culating tool to smooth the edges of the appiiod piceoe onto the olay beneath it 8. When you're satisfied with your design, bake at the manu focturor's recommended lemor alure for 39 minutes, Tent the baking tray with alurrinum ‘il to prevent darkening, 9, Per the recipe, sand ond butt to achieve the saft sheen of cinnabar, Pant the wood an the backs of the bockenas with matching red paint, alow 10 dry, and then glue the metal book= ‘ends injo place on the back of each plaoue, necessary, due ‘alt picoes onto the balloms of the bookends to protect furniture. Rocks & Stones 83x os Jasper Genuine jasper wide variety atural states: replicate any of these distinctive variations using {illcreat combinations of colored! ard translucent clays Materials Polymer clay—translucent ‘plus 4 t06 light, modium, and dark colors, ke yel- tow, light broven, orange, sienna, and dark brown Woviery sending sponges— fine, superfine and ultra- fine grits (or the equivalent metry sand- paper) Tools Cutting blade Rolling pin, aerylie rod, or pasta machine Buffing wheel or cloth 84 Faux SURFACES IN POLYMER CLAY Instructions a 1 To begin, cate two snakes of translucent clay To one of these snakes, add sop erato skinny snakos of each of the light-to-mechum colors. (For example, make a snake of translucent + yellow + light brown + orange.) Greate another snake the same way, using the medium to-dark colors, as shown. (For ansluoenl + light brown = sienna + dark brown.) exam fone So rae nF Lsann Ud Fl these snakes together, fold, and rail again, Mix until the colors are sti ated through the length of the snake, but don't over-mix. Mong incompletely wil create inteesting ‘bands of coor throughout the slucent clay, while 100 much ng wil create one solid color—not what you want for 1s surface,Meke another snake rom each sold color. Bundle all the snakes—bansivcent mixes and Sold colors—into one. log twa this log randomhy Loop the og back on itself sev- ral lies 1o create interesting oor pattems. Thy ‘elcing both ends pack nto tne middle, When the colar distribution is to your liking, lay the snake on a flat surlace. As you lay it down, ts ssnake so that differant colors ane! turn the bend! in on themselves, | manioulate the ing the clay with your fingors, gently stretching, rigping, or squishing tho sheat lo create Making the fres squiggle will create jaspertive or agate-like patterns: Yous more pattern When you're satistiae with tho pattom, roll it out overs d your roling tool, or man i Inrovg 2 pasta machine. (Note that fattening the olay, aspecially ina pasta machine, wil solten the color pattern. It you want sharp color definition, Malton the olay by hard 19 get thie pattesn you want. then lightly smooth with a roling tool} Form the clay for your project, and bake acc Ing to the manulacturer’s instru tions, Sane through the grits te clininate small Fregulartiss and fingerprints. Burt untl shiny, Rocks & Stones 85cocktail cutlery 1 Soprise aad “OU™ 7 Assorted cutlery with plastic handles Toals ‘Aenslicrolor or pasta machine Cutting blade Noodle or pin JASPEN HEGIPE ON =A absjant ulers i Its set of {eux jasper by roling (into @ sheet, or run it through a pasia machine at a medium sotting, 2. Cul oul ares gle that is ust longer then the handle of your utonell, ane! a bil wider then the cirournterence of the handle Luann Udell 3. Gently clay onto the hen surface te eliminate ai noth the rete oking the bubbles 4, Thin: the edges so they abut each other, Trin) the day 80 ist enough to mreals the ulensil 5, Check for air bubbles. Prie« any you see wilh @ need or pin, and gently press out the ai. 6, Use your finger to gerily stoke Ihe seam to make it smooth, Stroke all along the handle te make eure the clay tightly g the utensi’s surface. {This hoips efminate fingerprints; Repeat sieps 2 through 6 tor cach utensil you pian to make. 7. When the surface is shaped and smoothed to your liking, bake the cutlery according to the Gay manufacturers instructions l |. Sand and finish accor ing to the recipe instructions TIP: Metal ean be diff eult to cover so look for cutlery with riveted plas tic handles like thelaterials h ‘Sirong polymer clay—black Plain whits copy paper Wax paper Acrylic paint—olack and white Paper towals Too Pasta machine or roller Acrylic raller or brayer Small container Paintbrush (optional) ewe Diane Villano Instructions 1 Roll out three or four ‘cals of black clay to a nedium thickness; al should be approximately the same widt 2 y must be leachod page 14) for several hours or overnight to permit Ihe torn edge in the next stop t 3 a “a (on# of the clay sheet ihe resulting edge looks stretched, no! torn, the clay may need to be leached for a longer time, Repeat for the desired num 5 of clay, making each succes eat just a bit porter than the previous sheet Rocxs & Stones 874 Crumple a sheet of wax paper, and thon smooth it ul, Place the wax paper on one of the olay with your brayer oF rola’ to trans- for the texture, Repeat far the other sheets of clay Stack the sheets of day together as desired and boke according to the manufac: ture’ instructions, Let them cca, Sheets and roll aver it 88 FAUX SURFACES IN POLYMER CLAY 6 Mix together the black and white aonyie paint Lo pro ray color that appeals to you. Werking on a small area et a limo, apply tho paint fo the oaked sheet as shown. Let the paint sink into the surface texture, ut immediately wipe off the excess with paper towels. Repeat for the entire ince, and don't farget to paint the edges, too, Let the paint dey, wall clock Tre mitral uso al 28 loos eid one ely 0! We sua lob the Gorihart koe The urbr vole harris ero race Her oe Cay obec wath 18 Materials Clock movement and hands (with hanger) Polymor clay—block Gyanoacrylate alue ‘Sancpaper-—rough grit Mica powder—gold Balsa wood for backing, the thickness determined by the shaft of the clock movement Acryite peint—black Tools Ruler Craft knife Pasta machine Dril and bits, in the appropriate Paintbrush 5 ATE RFOIP® OM PaGr a) Instructions 4. Rll out thee back cay per t tions: they recipe instru ould be as wide asSOT TT eR TEPC ETT ENTE im your pasta rec ins—approx: 2. Prepare the faux surlace levornenodate shaft of the Maley 5.10 6 inches (12.7 cmt arcercing to the rape. Bet lock machaniser 15.2 com}—and 8 te 70 inches baking and painting, cut a hole in 20.8 to 25.4 cm} long, he cenler of the chy assembly tg 3 For the numoer marks, roll sul 2 sinall piace of black clay i al a thin setting, alaout Ye x 2 inohe x 5.em), lexiure by aon sto ea at der, Bake ine dey sccorng to he manuf and brush off any oxocss mica powder, Cut the ey inte nun ber marks that appeal te. you in | this project, the marke for 12, 9 o’cleck are a bit wi the others. Giue ine num ber marks to the clack face with A, Usa the orait knife to cut the balsa wood to the a opiate size for the clock, Dri a hole in the center for the clock mechariom shait. Ifthe shaft is not long ferough for the clay and the wd together, cul a hols in the wood te inset the erie mechariem. Paint the backing wit bieck acrylic pant. When dry glue t inte piace vwith eyanaaerylate glue, 5. Ascornolo the and hands according lo the may ulacture?s instructions, Frcs Diane Viltano Rocks & Stones 890 “ws MARBLE This beantifal rondiviin al marlale 1 look: by wes es apagalrali came a hackgrouned shoot Conor ore Maather Rosell Materials Fimo Soft—Transiucent Dali wrap or wax paper Lumiere Paints—Btack, Silver, and White Cotton swab Cornstarch Polymer clay—wihite Wetldry sandpaper—400 through 1,000 grit fools 1 Roll cur thin sheets of Bogin stacking the sheets Pasta machine conditioned translucent and apely paint randomly Brayr clay, using delior wax paper to wih a colon swab, as shown, err make really tn sheets that nl wilt an unpainted ‘golf tee, shape cutters, ete don't rip in the pasta machine, sheet of clay Cutting blade Gut eght sheets, Burting whee! 90 FAUX SURFACES IN PoLrMen CLaroh (Qu the stack in hall and the other. Wrap the skies of the: stack with thin staps of clay, shown, 80 the paint can't escape, Rall the stack with the orayer to adhere the sheers, 4 Goat the objects for cis- ‘ressing with cornstarch, then distress the stack by press ing the cbjests into it ror the top and bottom, Comprecs tha slack fron) the sitkes £0 re-block tee een ener ge” Pee At Re between every few objects, and agan altar the last object, Then, allow the stack to rest and cool Bake for 30 minutes at 2 75°F (136°C). Straight from the oven, iranefor the baked pieces to ice wate’ to enhance 5 Press the stack tinny to the translucency of the clay; omit your work surface to thie stop if you're cavering & acthere it, and ste paper-thin ghserabiect pieces from the top of the stack, as for MOKUME gane. Wet-send all surfaces until ‘completely smoath, and buff toa high shine, Apply slices of the marble patiern to the white cay a8 showin, After each ayes of slices, lay a shest of wax paper over the slices and burnish ther: to the background and to. one another by roling ligvily with a braver. Use several layers of slices to cover th white sheet com- plololy. Run the finishod shect Iyough the pasta machine to the desired thickness, turing the sheot 90? after each pass to pro vent aistortion in one direction, Rocks & Stones 91lidded vessel Matenals Large glace votive Wax paper Polymer clay—white Plastic wrap Tranelucont liquid po'ymor alay Sheet of card stock 92 Faux Suaraces Im Pourwer CLay > ube ja Tools Cutting blado Burnishing tool, like a bone folder or a spoon ‘Smooth jat ld or piece of acrylic sheet ‘Smooth tile or glass surface Circle cuttor VANBLE RECIPE On PAGE Instructions 4. To make the ar, ereate a medium thickness faux merbie 1a piece (1.3 cm) taler and 3 inches (7 & cor} widor than the glass votive \Waap the sheet around the votive removing any air bubbles snd butting the seams; trin and sot +: Heather Roselli |the remaining sheet aside, Cover the seas with one or ts mors alices from the faux mariole slaty and butnish fat, Cut a circle ftom the remaining s bottom of the votive, using the volve as a guide, AapW to the bottorn and smooth the sears, heal to cover the 2. Place a small piece of wax oaper on the jar and burnish the clay through the wax paper using the bone tolder or the bback of a spoon, Move the wax paper trom section to section, bumishing the entire surface to empothness, Put your fingers or fist Inside the votive while you're working to avo touching the olay on the outside, 3. Trimm the clay flush along the Top af the vote. 4, Bake Ihe vessel for 30 min. tos at 275°F (186%), Let cool Sand and buff as instructed in ‘hs recipe. 5. To bul the lel tis) make a knob by forming a srrall ball of white clay and covering ft with ‘aux martie slices. Rell uni completely smicoth. Shane as desired, then press one end of the knob ‘lal. Place it on the tile and bake for 20 minutes at 27°F (136°C). Let cool 6. Croatia medium thick heel cof faux marale and aopiy fh tos thick sheer of white clay 7. Tutn the votive upsieie down and lightly proas the rier inte the clay sheet, Remove the votive and cut along the inside of the impression, Smoath the edges and sel this piece aside, Il will be the tangs ct 1 el) 8. Choose a circle cutter al least “ inch (1.8 om) larger in clame- ter than the jar epening. Place Plastic wrap! over the clay shoot and cut out the id iplestio wa betes the culter and tne clay will create a hevelad exlge) Remove the wag and smooth the edges 9, Flip over the lia and center the flange onto the bation of the li. Press fimnly into plage, without uistorting the shapes ar edges, 10. Flip over the lid again ang poly liquid clay to the that bottom of the baked kneb, Center the knois on the lid and press firmly Bake lat on cardstock for 30 iinutes at 275°F (136°C), Wher cool, sand and bul’ ag ciractad in the recipe. Rocks & Stones 93