Materials

Polymer clay: while, black, irar cent, metallic gold, scraps

Translucent liquid clay

Piñata alcohol inks: Baja Blue, Passion Purple, Lime Green, Señorita Magenta and Sunl Yellow

Silver and gold leaf

Leafing adhesive

20 to 24 Swarovski 2mm sap flat back crystal stones

12 (30cm) gold link chain

Gold plated twist clasp

17 gold 7mm oval jump rings

12 gold 6mm oval jump rings

E-6000 contact adhesive or Amazing Goop

Quick-dry cyanoacryiate glue

G-S Hypo Cement

EnviroTexLite pour-on high glo

Small flat brush for adhesive

Fantastix brush-tip applicators

Medium-ball stylus

Double-ended clay tool

Clay extruder

Kemper pattern cutter

Craft blade knife

Wet/dry sandpaper

Ceramic baking tile

Extra-fine mist spray bottle

Cornstarch or baby powder

Needle-nose pliers

Future floor finish

Wire cutters

Pasta machine

lie glue

2mm so: >nes np rings >ive or lie glue

:gh gl< esive icafors

1 Cut six day strips

Fill a clay extruder with warm, preconditioned scrap clay. Secure the smallest rectangle disc to the end and screw the lid onto the extruder. Extrude a long strand of clay and cut it from the extruder. Using each of the following lengths: 1 %" (4cm), 214" (6cm), 3" (8cm) , 3%" (9cm) and two strands that are 3V2" (9cm) long.

2 Form the bezel shapes

3 Create the bezel molds

Check the frames for any uneven or rough edges and wet-sand them smooth. Roll 4 medium and 2 large balls of conditioned scrap clay. Flatten each onto a ceramic baking tile to form thick pads, for the molds. Make sure that the molds are at least Vs" (10mm) larger all around than each of the bezel frames. Spritz the clay pads and the original shapes with water. Press the frames halfway down the height of the frame, into the clay and remove the shape. Bake the molds for the full length of time directed for these very thick pieces.

As all metal clay brands experience some shrinkage when they are fired, it is best create the metal clay piece first and then make the polymer clay piece to fit the bezel.

Overlap the ends of each strip V\6n (2mm) and pinch them together to form a joint. Smooth the seams on the top and bottom edges with the flat surface of your fingernail. Shape the 13A" (4cm) strip into a circle, the 2}A" (6cm) strip into a small oval, the 3" (8cm) strip into a square with rounded corners, the 35A" (9cm) strip into a wide oval and one of the Vh" (9cm) strips into a long, narrow oval. Shape the remaining 3!/2n (9cm) strip into a long, triangle shape that curves to the left, as the shape will be reversed. Bake the clay shapes as directed and let them cool.

5 Shape the balls

Shape the balls into the basic final shapes, although smaller. Use Va" (6mm) pieces for 1 roun and 2 small ovals, Va" (1cm) piece for a slightly larger oval, W (12mm) piece for a square, the W (16mm) pieces for a long thin oval and a la wider oval and the (19mm) piece for a curv triangle. Do not flatten the bottom sides. Leave shapes rounded and three-dimensional. Shown i this photo are previously finished pieces so you can relate the size of the rounded black shapes the finished cabochons for this step.

6 Add leaf to the three shapes

Add a piece of silver leaf to the top surface only of the square, the curved triangle and the long oval clay shapes. Place the tip of the ink bottle on a brush-tip applicator and squeeze to satura the tip. Dab Lime Green and Sunbright Yellow i onto the square shape, and just Lime Green on long oval using the side of the applicator, not tip. Add Señorita Magenta and Passion Purple i to the curved triangle. Do not worry if small pi of leaf come off and onto the applicator. Dab them off onto a folded paper towel and continue applying the ink.

T Form the veneer and cut the shapes

Roll a sheet of translucent clay to the sixth thick pasta machine setting. If the clay is sticky, dust side with cornstarch or baby powder and conti rolling. Secure a sheet of silver leaf to the clay gently smooth out the surface. Apply patches of inks, overlapping the colors to create blends, low the ink to set for 15 minutes, and then cut small circles with a Kemper pattern cutter and I triangle shapes with the tip of a craft blade kni

4 Create the stone sizes

Roll a large ball of black clay into a Vi" (1cm) thick rope and place on a tile. Cut the rope with your craft knife into the following sized pieces: three tt" (6mm), one 3/8" (9mm), one (1cm), two 5/s" (16mm) and one W (19mm) long. Roll each into a smooth ball with no visible seams. Keep the balls in this order for reference.

8 Decorate the cabochons

Position the inked cutouts onto the black clay shapes. Turn the shapes over and press the veneered side onto a ceramic baking tile to flatten it somewhat. Flip the shape back over to the front.

9 Shape the cabochons

Place the corresponding original strip bezel frame over the clay to size the cabochon. Remove the frame and make adjustments in the size as needed and smooth the edges of each cabochon. Try to avoid getting fingerprints on the clay surface; if you do, just smooth them out with a light touch with the flat area of your finger. Bake the cabochons as directed for this thickness of clay and allow them to cool.

10 Glaze the cabochons

Following the directions on the package, mix and apply EnviroTexLite to the cabochons. Allow the pieces to fully dry before touching them.

11 Mold the bezels

Roll a sheet of white clay to Vs" (3mm) thick (thick est pasta machine setting). Mist a mold and both sides of the white clay with water and press the clay into the mold. Press the clay into the mold indentation with your thumb. Slowly lift the white sheet and allow it to dry. Make short clips into the clay edge to flatten. Secure it to a ceramic baki tile and press the cabochon in place.

12 Add texture and decorate the bezels

Cut out a platform around the bezels, leaving room to decorate it with all-over texture. Use a ball stylus tool for dots and the dull edge of a c blade knife for lines. On the smaller oval (just to the left of the horizontal oval in the project pho add evenly spaced dots with a medium-ball styl tool, as stones will be glued into each. Remove cabochons and bake the bezels as directed.

14 Add the gold leaf

Apply a thin layer of leafing adhesive to the si edges and the raised rim of each bezel and ali the glue to dry. It will remain sticky. Carefully l< piece of leaf over the bezel and tamp it down a soft brush. Apply a coat of Future floor finish over the leaf to seal it, avoiding the center white clay area. Secure the clay cabochons in place using E-6000 contact adhesive and let it dry fl overnight.

13 Add a base layer and the rings

Roll a sheet of metallic gold clay to W (2mm) thick (third thickest pasta setting) and secure it to the ceramic baking tile. Mist the back of each bezel to prevent permanent adhesion and place them on the gold clay. Cut the same bezel shape from gold clay using a craft blade knife tip. Remove the bezels. Close the large (7mm) oval ju: rings. Holding a jump ring with needle-nose pli add a dot of quick-dry cyanoacrylate glue whei the ends meet. Press the ring onto the gold base, so it extends halfway off the shape's edge, in the designated positions (refer to step 16 photo) Apply a thin layer of translucent liquid clay to back of the bezel and secure it to the base. Bak bezels as directed.

15 Add the crystal stones

Using the precision tip of the G-S Hypo Cement, add a small dot of glue into 3 cells at a time and secure a 2mm crystal stone in place. Use the soft clay end of a double-ended clay tool to pick up and place the stones. Using the baked end of the double-sided clay tool, gently press the stones to set them in place. Allow the adhesive to dry.

16 Assemble the necklace

Open a small (6mm) oval jump ring. Thread it into 2 corresponding bezel rings and close the ring. Secure all bezels together in this manner. Determine your desired necklace length and subtract the length of your clay neckpiece from that measurement. Using wire cutters, snip the necklace chain into 2 even lengths to acquire the desired total length. Secure the chain ends to the last 2 bezels and the clasp loops with jump rings.

Asian Influence Dangles

Asian Influence Dangles

This is a great beginner project for those who have never added embossing powders to polymer clay. The variegated parchment look on the earring base comes from kneading embossing powders into translucent clay. The color of the clay comes from the powders themselves. Black embossing powder is used to emboss the design onto the surface of the clay and to create an embossed black border around the clay base. A handheld heat gun is needed to emboss the designs. The bead shapes that dangle from the earrings enhance the Asian feel of this jewelry.

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