Step by Step Jewelry Polymer, Ceramic, and Metal Clays - Winter 2007

paint your
polymer!
BONUS! Polymer and Metal Clay Guides
Winter 2007
add silver to
copper
beads
links of
style
capture the
allure of gold
add silver to
copper
beads
links of
stylemake a
metal clay bracelet
capture the
allure of gold
paint your
polymer!
make this
memorable necklace
LJMS-060067-CN1 9/29/06 9:03 AM Page CN1
LJMS-060067-CN1.pgs 09.29.2006 12:02
BLACK YELLOW MAGENTA CYAN
December 2 & 3, 2006
Chase Center on the Riverfront
Wilmington, DE
ET
S
F
ewelry
J
Admission: $5.00
Jewelry Fest registered students
receive free Expo admission!
Shopping Hours:
Saturday, December 2: 10 AM 6 PM
Sunday, December 3: 11 AM 5 PM
Shop for spectacular finished jewelry
or come and make your own.
Shop for spectacular finished jewelry
or come and make your own.
Perfect timing for your holiday gift giving!
Brought to you by Step by Step Beads, Step by Step Wire Jewelry, and Lapidary Journal magazines.
Check www.jewelry-fest.com for a $2.00 coupon off the Expo admission price
and for class photos, descriptions, times and to register for classes. Free Parking!
Beginners welcome
Leave class with a finished piece
to keep or give as a gift
Taught by Editors of Step by Step Beads,
Step by Step Wire Jewelry, and Lapidary
Journal magazines and nationally
published jewelry teachers/designers Photos show a
selection of the
pieces you can buy
or learn how to make
at Jewelry Fest. See more
of our class offerings at
www.jewelry-fest.com
~ Gemstones, silver, artisan pieces & more ~
Classes - Just 3 hours each
Pendant provided
by India Gems
LJMS-060067-CN2 10/5/06 10:21 AM Page CN2
LJMS-060067-CN2.pgs 10.05.2006 15:01
8890 00 090f M800 00f
0N 0f0 8ll90f (0N0lfF
fl0 8l8fl0f kll8 8 090fl0l
M0l8l 0l8 8l FN0 $0l.00M
800.J88.Z001
3HERRI (AAB 3HERRI (AAB 3HERRI (AAB
LJMS-060067-003 10/2/06 2:25 PM Page 3
LJMS-060067-003.pgs 10.02.2006 14:54
4 Step by Step Jewelry: Clays Winter 2007
Beginner: Someone just starting out can
complete this project and be happy with
the results.
Beginner/Intermediate: Someone who
has had experience with the material can
happily complete this project, but will
also learn something newby doing it.
Intermediate: Acomfortable project for
someone who has a good working
knowledge of the material.
Intermediate/Advanced: Aproject for
someone who is ready for a more chal-
lenging approach to a material they have
worked with repeatedly.
Advanced: Agood project for someone
who is confident with the material and
has had a lot of experience with the
techniques.
P R O J E C T S K I L L L E V E L S
7
45
6
Alchemy
By Leslie Rogalski, Editor-in-Chief
7
Bamboo Metal Clay Earrings
Combining PMC
with 18K gold wire and beads.

By Kathleen Bolan
14
Bearded Iris
Polymer clay brushstroke technique.
By Barbara Sperling
21
Silver on Copper Beads
Getting more out of your metal clay.
By Marc Kornbluh
24
Double the Pleasure
Two glass cabochons with movement and style.
By Arlene Hildebrand
contents
polymer, ceramic & metal clays polymer, ceramic & metal clays
Winter 2007
21
LJMS-060067-TOC 9/28/06 10:08 AM Page 4
LJMS-060067-004.pgs 09.28.2006 11:02
50
More Projects @ StepbyStepJewelry.com 5
Patricial Kimles Pastel Lentil Bead , page 34.
ON T HE COV E R
14
www.stepbystepjewelry.com
CHE CK US OUT ON T HE WE B :
63 Bead Shops
65 The Next Step: Classes Near You
ADV E RT I S E R S S E CT I ON
28
Link Bracelet
PMC
chain fired in one piece.

By Hadar Jacobson
31
Folded Raku Bead Necklace
By Sue Ki Wilcox
34
Pastel Lentil Beads
Painted polymer takes art to new heights.
By Patricia Kimle
40
Fracture Patterning Technique
By Helen Breil
44
Fracture Patterned Sheet
Patterned polymer clay.
By Helen Breil
45
Patterned Polymer Pendant
Tempera paint crackle effect for polymer clay.
By Helen Breil
50
Rio Oro River of Gold Pendant
Metal clay and Aura22
.
By Lorrene J. Davis
55
The Complete Guide to Metal Clays
By Suzanne Wade
60
Polymer Clay Hints
By Kathy Weaver
62
Clay Web Resources
31
LJMS-060067-TOC 9/28/06 10:08 AM Page 5
LJMS-060067-005.pgs 09.28.2006 11:03
6 Step by Step Clay Jewelry 2007
polymer, ceramic & metal clays polymer, ceramic & metal clays
EDITORIAL
Editor-in-Chief Leslie Rogalski
Art Director Kevin Myers
Projects Editor Denise Peck
Associate Editor Jane W. Dickerson
Assistant Editor Kristen L. Gibson
Sara E. Graham
Assistant Art Directors Karen Dougherty
Robin Hayes
Cheryl L. Long
Editorial Director Merle White
BUSINESS
Publisher Joseph Breck
Business & Operations Manager Donna L. Kraidman
Marketing Director David Weiman
Sundry Sales Manager/
Office Manager Michele P. Erazo
(610) 232-5710
Promotions Designer Karen A. Dougherty
Web Site Editor/Developer Tricia Gdowik
Office Coordinator Kathleen A. McIntyre
Events Manager Karen Keegan
ADVERTISING
Sales Director Joseph Breck
(610) 232-5701; Fax (610) 232-5750
National Sales Manager Art Dulac
(619) 668-0136; Fax (619) 668-1034
Advertising Representatives Evelyn McIntyre
Beth VanOstenbridge
Katherine Wiggins
Classified Advertising
Representative Scott Stepanski
Production Manager Scott Tobin
Advertising Coordinator Jay Bonfadini
Advertising Designer Daniela Glomb
Founder, Creative Director Linda Ligon
CEO Clay B. Hall
President Marilyn Murphy
CFO Dianne Gates
Vice President, Sales & Marketing Linda Stark
Vice President, Human Resources Suzanne DeAtley
BOOKS
Publisher Linda Stark
CFO Tricia Waddell
Art Director Paulette Livers
Managing Editor Rebecca Campbell
For questions regarding our book program,
call (970) 669-7672
MondayFriday, 8:00 A.M.5:00 P.M.
or email books@interweave.com
Step by Step Jewelry: Polymer, Ceramic & Metal Clays is published by InterweavePress LLC,
201 E. Fourth St., Loveland, CO 80537-5655. (970) 669-7672.
Step by Step Jewelry: Polymer, Ceramic & Metal Clays is published at 300 Chesterfield Park-
way, Suite 100,Malvern, PA 19355.
Copyright 2006 Interweave Press LLC, All rights reserved. Reproductionof this copyright-
ed material in any manner without the express writtenpermission of Publisher is strictly forbidden.
Step by Step Beads is notresponsible for manuscripts, photographs or other material, whetherso-
licited or not, unless a signed, prior written agreement is executed.All manuscripts, photographs
or other material submitted will beconclusively presumed to be for publication unless accompa-
nied by awritten explanation otherwise. Once accepted by Publisher, materials become the sole
property of Step by Step Jewelry: Polymer, Ceramic & Metal Clays, who has the unconditional-
right to edit or change material. All manuscripts, photographs or othermaterial accepted by Pub-
lisher will be paid for at a rate solelydetermined by Publisher unless a signed, prior written agree-
ment isobtained. No payment is owed until and unless work is published.
Step by Step Jewelry: Polymer, Ceramic & Metal Clays is not responsible for any liability arising
fromanyerrors, omissions or mistakes contained in the magazine and readers shouldproceed cau-
tiously, especially with respect to any technical information,for which Step by Step Jewelry: Poly-
mer, Ceramic &Metal Clays does not warrant the accuracy and furtherdisclaims liability therefrom.
Alchemy
Working in clay appeals to a deep instinct in an artist. Call it a
primal urge. Every culture has a legend about creating some-
thing from clay and bringing it to life. There is an archetypal aura
about sinking your fingers into malleable materials, feeling the
medium respond to your every touch,
and then, usually with fire and heat,
transforming your creation from tran-
sient to permanent. Its very empower-
ing and very magical to change a lump
of clay into a work of art.
Clay artists today are our modern
alchemists. Imagine what ancient pot-
ters would think of metal clay, the way
it becomes pure precious metal. Arthur
C. Clark said, Any sufficiently ad-
vanced technology is indistinguishable
from magic. How true! And how
privileged we are, to have such tech-
nology empower our creativity.
Technology has transformed our
lives as artists. It brings supplies to our
doorstep with the click of a button, en-
ables us to use colors historically re-
served for kings and popes, and im-
proves the very mediums we cherish by making them easier to
work with, faster to process, and more enduring.
As you create the projects were proud to present here, re-
member that as you transform the raw material into a beautiful
piece of jewelry, your creation will go on to affect someone else.
Wearing your art will transform them into someone special.
Like magic.
Merle White, Editorial Director
Leslie Rogalski, Editor-in-Chief
www.stepbystepjewelry.com
LJMS-060067-edit 9/28/06 10:16 AM Page 6
LJMS-060067-006.pgs 09.28.2006 10:58
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Bamboo
Metal
Clay
Earrings
Combining PMC
with 18K
gold wire and beads.
BY KATHLEEN BOLAN
PMC
offers myriad possibilities in surface texturing and combining it with

other jewelry elements. The earrings pictured here were made by cutting two
shapes from a hand-drawn template, texturing them with a rubber stamp, and
embellishing them with 18K gold, sterling silver, and handmade lampwork
glass beads.
Half of a 28-gram package of PMC+
Work surface of glass or smooth

plastic
PVC roller: 1" diameter x 8" long
Manila folder or other heavy paper
Pencil
X-Acto
knife with new blade

Cutting mat
Jewelers shears
Bamboo rubber stamp
(All Night Media)
A piece of Teflon
paper: approxi-
mately 6" x 6" (available from cooking
supply stores)
Cellophane tape
Badger Balm
or olive oil
Saran Wrap
Small pointed brush

Sandpaper: 320- and 400-grit
Salon emery boards: medium and fine
4 playing cards
Needle files: flat and round
Pin tool or long needle
Toaster oven
Ceramic tile
Round sterling tubing: 3.84mm O.D.,
5
16" long
Square sterling tubing: 4.5mm O.D.,
1
16" long
Tube cutting jig
Jewelers saw and 3/0 blades
Flat nose pliers
Chain nose pliers: 1 pair bent tip and
1 pair straight
Round nose pliers: 1 small pair and 1
large pair
Wire cutters
20-gauge soft 18K gold wire, 7" long
20-gauge dead soft sterling silver
wire, 12" long
2 small lampwork glass beads
2 small sterling silver accent beads
Bench pin
Metal mandrels to make jump rings:
2mm and 4mm
Soldering torch
Soldering pick
Burnisher
Silver solder: hard, medium, and easy
Paste flux
Soldering pick
Fire brick
Bowl of water
Sparex or other pickle of choice in a
crock pot
Rotary tumbler with mixed stainless
steel shot
Burnishing compound
Kiln capable of holding 1650F for 10
minutes
Kiln shelf
Tongs
Liver-of-sulfur
Tweezers
4/0 steel wool
Sunshine or other polishing cloth
What you need
Skill level
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LJMS-060067-bamboo 9/25/06 9:26 AM Page 7
LJMS-060067-007.pgs 09.25.2006 12:20
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I have an affinity for Asian motifs, and selected
a bamboo design for the PMC
imprint. The 18K

gold straws on the top complement the 22K gold
leaf and red enamel beads that dangle from the
bottom loop. I strive to create a traditional look us-
ing contemporary techniques for designs that tra-
verse time.
As an option to simplify the project, freshwater
pearls could be substituted for the beads, which give
the earrings a slightly different traditional appeal.
Draw a curved rectangle shape for the earrings
on a piece of manila folder approximately 1" long,
slightly less than 1" at the top, and narrowing to
about
9
16" at the bottom. Place it on a cutting mat,
and cut it out with the X-Acto
knife. Hold the knife

perpendicular to the template, and score the manila
folder lightly for the first cut. Repeat the cut three or
four more times using a little more pressure until it
cuts through. Leave a
3
4"1" border of manila folder
around the cut-out shape on all sides. Smooth any
rough edges of the template with 400-grit sandpa-
per. Mark a T for top in the corner on one side
of the template. Apply a light coat of Badger Balm
to the bottom side of the template and set aside

with the Badger Balm
facing up. A flatter, gentle

curve along the top rather than a more rounded
curve is easier to solder onto the round tubing for
the bail. Keep in mind the PMC+
will shrink 10-15

percent when fired.
Tape a piece of Teflon
to your work surface. Rub

a small amount of Badger Balm
on your hands.
Place a piece of Saran Wrap
over the clay as you

roll it out to help keep it moist for a longer time. Roll
out half of a 28-gram package of the PMC+
to a
height of two cards on the Teflon
or an oiled sur-
face.
Tip: Turning the clay over every two to three rolls will prevent
it from sticking to the Teflon
.
Put some Badger Balm
on your fingertip and rub it over

the rubber stamp to prevent it fromsticking to the PMC+
.
Press the stamp fairly hard into the clay to get a deep image.
Position the template with the oiled side down on top of
the clay. Hold it in place, and use the pin tool perpendicu-
lar to the clay to cut around the shape. Let the earrings dry.
Tip: To speed up the drying, you can heat them in a toaster
oven. Carefully pick up the Teflon
, gently lift the earrings

off with your fingers, and put them on a ceramic tile. Place
the tile in the toaster oven, and heat at 250F for about 15
minutes. Do not use the aluminum tray that comes with the
toaster oven; the PMC
reacts adversely.
1
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3
4
LJMS-060067-008.pgs 09.25.2006 12:19
When dry, hold the two pieces together, and carefully
sand the edges with a salon emery board, 320- or 400-
grit sandpaper. This smoothes the edges and assures that
the shapes are exactly the same. Also, check the back of
the earrings to make sure the surface is smooth. Sand, if
needed. Handle the leather-hard clay very gently because it
is fragile and can break easily. Tip: File and sand over a
clean sheet of paper to collect the filings, then add them to
your jar of PMC+
slip.
Place the earrings on a kiln shelf and fire for 10 minutes
at 1650F. When the cycle is completed, crack the door
open. After 1015 minutes, carefully remove the earrings
with tongs and cool on a ceramic tile. Tumble with the mixed
stainless steel shot and burnishing compound for 23 hours.
Use a jewelers saw and tube cutting jig to cut two
5
16"
long pieces of the round sterling silver tubing. Cut two
1
16"
long pieces of the square sterling silver tubing. File the ends
of the round tubing with the round needle file to remove any
burs. Sand the round and square tubing with 320-grit sand-
paper on a flat surface. Saw off one side of the square tub-
ing slices. Hold each with flat nose pliers and sand the
bottom edges flat.
Wrap the 20-gauge sterling wire around a 2mm mandrel
by hand about 56 times. Repeat to make two 5.5mm
O.D. jump rings using a 4mm mandrel. Remove the
mandrel, hold one of the coils against a bench pin,
and use the jewelers saw to cut the coil and sepa-
rate the jump rings. Repeat for the other coil, then
saw two 5.5mm jump rings in half. I like to make a
few extra of both jump rings in case they are need-
ed, and a longer coil is easier to hold for sawing.
Hold a 3.5mm jump ring between the flat nose
and bent tip chain nose pliers, and bend side to
side until the ends butt tightly together. Then hold it
with the bent tip or flat nose pliers along the top
edge with the seam side facing down, and sand the
bottom flat on 320-grit sandpaper.
Solder a 3.5mm jump ring to the top of a square
tubing slice. Cut a tiny pallion of hard solder
with the jewelers shears. Center the jump ring on
top of the square tubing slice, flux, solder, quench
in water, then pickle. Repeat for the second one.
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LJMS-060067-009.pgs 09.25.2006 12:19
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Solder the square tubing with the jump ring on it
to the round tubing. Cut two tiny pallions of hard
solder for each earring. Carve a depression in the
fire brick the depth of half the diameter of the round
tubing. I use the back end of my tweezers. Check so
the midline of the tubing lines up with the square
tubing slice when placed next to each other on the
fire brick. Center the slice of square tubing on top
of the round tubing, flux, solder, quench in water,
then pickle. Repeat for the second one. If the
square tubing is not centered, sand the round tubing
to make the sides equal. Make sure the tubing is
the same length on both earrings.
Solder a half jump ring to the PMC+
. Burnish
the bottom edge of each earring. Mark the center
of the earring along the bottom edge with a pencil
line to help center the half jump ring. Cut two tiny
pallions of hard solder for each earring. Do the sol-
dering on the back side of the earring to make sure
solder does not flow into the stamped texture on the
front. Center the half jump ring, flux, solder, quench
in water, then pickle. Repeat for the second earring.
Burnish the top curved edge of the earrings. Cut
two to three small pallions of medium solder for
each earring. Use the carved depression again, so
the midline of the tubing lines up with the top edge
of the earring. Mark the center of the tubing and the
earring along the top edge with a small pencil line to
help center and align them. Center the tubing along the top,
flux, solder on the back side, quench in water, then pickle.
Repeat for the second earring.
Ball one end of the 7" of 18K gold wire. Dip the end of
the wire in flux. Hold the wire with tweezers, so it is hang-
ing downward. Bring the tip of the torch flame up to melt the
end of the wire into a ball and quench in water. Make sure
the balls on the ends are small, so three will fit through the
tubing together. Cut the balled wire
7
8" long and pickle it.
Hold this wire with tweezers so the cut end is hanging down-
ward again, and melt the other end into a ball the same size.
Make 3 more of this size for a total of four. For the next two,
repeat melting a ball on one end, cut these 1
1
8" long, then
melt a ball on the other end. Each earring uses one long and
two short 18K wires.
Solder three of the gold wires together. Lay one long wire
on the fire brick with one short wire above and below it.
Center the wires so they are equal on each side. Solder
them together in the middle with two tiny pallions of medium
silver solder. Flux, solder, quench in water, then pickle. Heat
just enough to tack the solder in place, so the solder does
not flow down the length of the gold wires. Repeat soldering
the other 3 wires together.
Solder the gold wires to the inside of the tubing. Push one
end of a three-wire bundle through the round tubing on top
of an earring. You may have to bend the two outer wires to lie
on top of the middle wire to get themthrough the tubing. Cen-
ter the wires so the amount of wire extending out on each
11
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LJMS-060067-010.pgs 09.25.2006 12:20
side is equal. Splay the wires on each side, so they are
evenly spread apart. This helps hold them in position. Blind
solder them to the inside of the tubing with one to two small
pallions of easy solder. Flux the inside on the center of the
wires, solder, quench in water, then pickle. Make final adjust-
ments to the wire spacing. Repeat for the second one.
Make two headpins. Cut two pieces of 20-gauge sterling
wire 1
1
2" long. Dip one end of the wire in flux and heat it
in the torch. Hold the wire with tweezers, so the cut end is
hanging downward. Bring the tip of the torch flame up to
melt the end of the wire into a ball, quench in water, and
pickle. Make sure the ball is large enough to hold the lamp-
work bead on the wire.
Make two hook ear wires by cutting two pieces of 20-
gauge sterling wire 2
1
4" long. Dip one end of each wire in
flux, and heat the end of each to melt it into a small ball.
With the small round nose pliers, hold the wire about
1
4"
from the tip of the pliers at the base of the ball with the
balled end pointing up. Make a small loop by bending the pli-
ers away from you until the ball touches the long
end of the wire. Hold the loop facing you with the
long end of the wire hanging down. Position the
widest end of the large round nose pliers below the
loop; bend the wire away from you, going up around
the jaw of the pliers. Use the flat nose pliers to
make a slight bend at the long end of the wire by po-
sitioning the end of the wire so it is flush with the
side of the pliers; bend out away from the loop. File
the end smooth with a flat needle file.
Patinate the earrings, headpins, and ear wires
with liver-of-sulfur. It is best to do this outdoors to
avoid inhaling the noxious sulfur fumes. Use one cup
of hot tap water. Pour the water into a small glass or
ceramic bowl used only for this purpose. Add a small
pea-sized piece of liver-of-sulfur to the water and stir
with tweezers until dissolved. Hold the earrings un-
17
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LJMS-060067-011.pgs 09.25.2006 12:21
der the hot water faucet to warm the metal. Im-
merse the earrings and wires into the solution until
they turn a dark steel gray. Remove them with tweez-
ers and rinse in cool, clean water to stop the chemi-
cal action. Wash in hot soapy water and baking
soda, then rinse again. Buff the silver with 4/0 steel
wool to remove most of the liver-of-sulfur. The re-
cessed areas remain dark. Polish with a
Sunshine
cloth for a soft luster.

Wire-wrap the lampwork glass beads to the bottom
loops on the earrings. Put one of the lampwork
beads and small silver accent bead on a headpin.
Hold the headpin about
1
8" above the beads with the
small round nose pliers about
1
8" from the tip of the
jaw. Bring the wire above the pliers down and over the
outside jaw of the pliers. Maintain your grip and bend
the loop toward you with the pliers while holding the
tail of the wire against the bead with your other hand.
This movement is done with your wrist. Reposition the round
nose pliers so the top jaw is at the top of the loop. Bend the
tail at a right angle, and bring it across the bottom of the
loop. Use the straight chain nose pliers to open the base of
the loop enough to slide it on the loop at the bottom of the
earring. Position the straight chain nose pliers across the
loop, and use the bent tip chain nose pliers like fingers to
wrap the wire around the stem between the loop and the
beads two times. Cut off the excess wire. Squeeze the cut
end with the pliers, so it is flush against the wraps. Repeat
for the other earring.
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LJMS-060067-012.pgs 09.25.2006 12:22
Attachthehooks. Usetheflat noseplierstobendthe
small-balledlooponthetopof theear wiretooneside.
Hook theearring ontoit, andclosetheloopby bending it back
tothecenter of theear wire. Repeat for theother earring. Your
newearringsarenowcompleteandready towear. G
Kathleen Bolan
creates mixed media jewelry using precious
metal clay, metal, polymer clay, and her hand-
made lampwork glass beads, which she sells
at fine art fairs and in select galleries. Her
company, Born To Bead, is in Trenton, Mich.
21
We have everything you need
for enameling and metal clay
Art Clay Silver Starter Kits
Enamels Tools Supplies
Tips & Tricks Books & Videos
Fun & Easy! No kiln required
Quantity Discounts Available
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Toll Free (888) 335-9884
www.beadiak.com www.beadiak.com www.beadiak.com www.beadiak.com
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Bali Style Silver
Fresh Water Pearls
Faceted Pearls
Swarovski Crystal
JSBEADS.COM
LJMS-060067-bamboo 10/9/06 1:18 PM Page 13
LJMS-060067-013.pgs 10.09.2006 12:23
I absolutely love the color choices and
brushstroke technique of Van Gogh. To
me, the iris was a natural choice for this
brushstroke look. When I think of doing
a millefiori cane, I usually start with a
subject matter that I really like, and then
the technique or look comes into play.
With polymer clay there are limitless
choices to be made, leaving only the
imagination to discover them.
I was demonstrating the polymer clay
millefiori cane work technique for a shop
when I first thought of doing the iris with
the brushstroke technique. There was a
break in the action, and one of the shop
clerks came out to visit. I imagine I was
staring pretty intensely, because she asked
what I was doing. The wheels were turn-
ing and I was trying to envision howI had
to break down the design to accomplish
the look I was seeking. That is how it
starts for me. I viewthe image as a puzzle;
breaking down each design, making all
the little parts, then piecing it together. I
am self-taught in polymer clay, but my
background in numerous mediums has
developed my eye for color and design.
Experimentation comes naturally to me
and I like the challenge of figuring things
out. I learned very quickly that with poly-
mer clay there are a few rules one must
obey, and no matter how forgiving it can
be, you have to knowits limits.
Instructions are for technique versus exact
coloring or amounts of clay. This project also
requires an understanding of gradational
shades, conditioning, and mixing of the clay.
bearded
IRIS
Polymer clay brushstroke
technique.
BY BARBARASPERLING
S
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LJMS-060067-014.pgs 09.25.2006 12:28
Conditioning the clay.
Place the clay in a food processor dedicated for clay work.
Turn the motor on, chopping the clay into small pieces.
The heat from the motor will also help to soften the clay,
making the conditioning process a little easier. After remov-
ing the clay from the processor, combine the clay pieces into
a ball. Roll the ball out, recombine into a ball, roll out, re-
combine, and roll out for a total of 15 or more times. If you
dont have a food processor, then the rolling and recombin-
ing process has to be done more. The clay will be smoother,
softer, and more elastic when it is conditioned properly.
Mixing colors and making gradations.
Petal: I used a mix of purple and cobalt for the petal, and
chose to make nine different shades to achieve a nice
brushstroke effect. Roll the blended purple into a log, then
cut off one section to retain for the darkest shade (length de-
pends on amount of clay used). Add 1 part white to the re-
maining purple log. Cut off another section equal in length to
the first. Add 1 part white to the remaining purple log. Cut off
a section equal in length to the first and add 1 part white to
the remaining purple log. Continue this process adding 1 part
of white each time to the purple log to equal nine shades. (In
the directions and diagramfor building the petals, the grada-
tions are numbered 19, 1 being the lightest.)
Beard: Mix ochre and golden yellow for the base color. Fol-
lowing the process above, add white for a total of three gra-
dations. Now mix yellow and golden yellow for a base color
and mix with white to equal three shades. This will give you a
total of six shades to use in the beard.
Leaf and stem: For the base color, mix leaf green, green,
and turquoise. Add white for the first two gradations, then
begin adding yellow and white to equal three more grada-
tions, for a total of five shades of green.
Leaves, stem, and bloom covering: For a variation,
the leaves can be as simple as mixing the selected
colors together with some white and leaving mottled,
then shaping into a leaf.
Iris beard.
Form a tall triangle from the darkest shade of
ochre. On the #1 setting of the pasta machine,
make sheets out of the two remaining ochre/yellow
pieces and the three yellow pieces. Drape the
sheets of lighter shades of ochre, then the yellow,
over two sides of the triangle. Reduce the triangle in
size by stretching.
1
Polymer clay (I used FIMO
Classic)
Iris: purple, cobalt blue, white, yel-
low, golden yellow, ochre.
Leaves and stems: leaf green,
green, yellow, golden yellow,
ochre, white.
Background: dove gray, light blue,
navy blue, champagne, white,
ochre, purple.
Tissue blade or other sharp fine
edge
Brayer hard rubber or acrylic
rod
Food processor (optional)
Pasta machine (referred to as
pm) This helps when making the
sheets, but hand rolling is also
fine. Settings listed in the direc-
tions are for the Atlas
brand pas-
ta machine. Any thickness for any
of the sheets of clay used is fine,
just keep proportion in mind.
What you need
Skill level
P
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Drape one sheet of each of the purple shades #4
then #3 (pm#1) over the ochre/yellow triangle on
the same two sides.
Beard veins.
Roll out a sheet (pm#6) of purple #8. Cut into
varying-width strips to be inserted for veins. Using
a tissue blade, starting at the bottom of the triangle,
make five to seven angled slits along the sides, and
one slit on the top of the triangle.
Insert the dark purple vein strips into the slits. If
you work the strips into the slits using a sideways
back and forth motion, it will help keep the clay from
sticking before you have it in place.
1. I use Fimo
Classic for all of my complex

canes. It maintains color and design integrity
during the reducing stage. Its colors are true
and I like the matte finish after baking. It is a
much harder clay to condition and work with,
but that really is a plus when making detailed
millefiori canes.
2. Condition the clay well I cant say this
enough. Even before mixing the colors and
shades, the clay must be well conditioned.
3. Always mix extra clay; you will want to retain
some of each color and shade for additions
or later use. You do not want to have to try
and remix or match a certain color. Any extra
clay can always be used to make other
canes for accents or backgrounds when con-
structing jewelry.
4. When mixing the shades/colors for a flower
cane, leave striations in the mixed clay as this
gives the piece an interesting, artistic flair.
5. Reducing: I find that a slight wiggling of the
cane back and forth, while stretching at the
same time, makes the reducing easier. Not all
shapes can be reduced by rolling or brayering.
Beginning in the center of the cane and work-
ing out towards the ends helps to reduce the
waste at the end of the cane. Before assem-
bling the parts, be sure to make a clean slice
on the ends so you can view it while putting
the parts in their places.
6. No monster canes for me; I keep my canes
to a 34" length, with a 23" diameter. Detail
work becomes distorted if you try to make it
too big. The flowers are more forgiving if you
really need to go large, but anything with ex-
tremities would have a hard time staying
straight when reducing. Of course, this means
reducing each segment before constructing the
final cane.
7. Make sure that each segment of the cane is in
its correct place and is attached firmly to sur-
rounding canes before reducing the cane. I
hate to perform surgery on a cane after it
has been constructed.
TIPS
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Once you have
all the slits filled
with veins, press
the clay back to-
gether firmly. Set
aside.
Iris petals.
Roll the nine shades of purple into sheets (pm #2). Cut
ten 1" x 3" strips of all nine shades. Even though you may
not need all ten in each shade, its not only easier, but it
also allows variances in your brushstroke.
Looking at the cross-section (the end), lay out the strips,
following the diagram for the color order. Here is where
creativity comes into play mixing up the order and/or
adding small strips randomly of shades #1 and #9 (pm#5)
will make the petal more interesting and not so uniform.
After doing twelve layers, begin leaving out shade #2, then
#3, and finally #4. At the same time, begin stacking the
darker shades towards the lighter end.
Once the stack is complete, place a sheet of
dark purple (pm #4) over the stack, beginning at
the dark end.
After all the sheets have been placed, you will no-
tice that the middle is higher than the ends; this is a
good thing. Brayer over the whole stack, making
sure all the clay is adhered together. Do not flatten
the middle; keep it angling down towards the ends.
Start pushing the two ends towards each other and
continue stretching the cane, keeping the lowest lay-
er flatthis melds the brushstrokes. Continue to
stretch this stack out, retaining the shape; this log
is actually half of all the petals.
Back petals.
Cut off
1
3 of this log. This section will be used for
the three smaller petals coming up the back and will
show no beard. The remainder will be used later.
Reduce the
1
3 section you cut off then cut it in half.
Pinch the light end on both halves to formpoints.
Place a thin strip of dark purple along part of the
flat, lighter edge of one of the halves; this will be
the vein in the middle of the petal. Push the two flat
sides of the two halves completely together.
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LJMS-060067-017.pgs 09.25.2006 12:24
Press the lighter end into a point and round the
dark end.
Stretch this petal log to 12", but have 8" of it
smaller than the remaining 4". Cut into three
equal lengths of 4" (this will be the length of my
cane, your length may be differentbe sure to make
adjustments to all lengths given from here on) and
set them aside.
Main petals with beard.
Take the remaining half of the petal-log stack, left
from Step 9, and reduce it a little, then cut it in
half. Pinch the light colored ends into points. Reduce
the beard to proportion and place it between the two
pointed, lighter edges of the halves before pressing
them together. Wrap a thin sheet (pm #6) of dark
purple around the log, leaving the beard edge ex-
posed. Cut this bearded petal log in half.
To make the sections for the two smaller front-
side petals, reduce one of the halves of this beard-
ed-petal log and cut into two 4" sections. Pinch the
beard end to make a point. Retain the other half for
the larger, round main petal. Set aside.
Stem.
Roll the five green shades into sheets (pm#1),
3" x 4". Stack the sheets starting with the dark-
est shade on the bottom. Brayer or stretch this
stack out, keeping one side at 4".
Cut a small section (approx.
1
2"x 4") of this stack
off and set aside for the stem. Cut the remaining
piece in half, retaining the 4" side.
Keeping the darkest green down towards the table, lay a
sheet of yellow clay along one side of the light green layer,
on one of the halves, then place the other half on top, keep-
ing the lighter shades towards the middle. Brayer together.
Shape into a leaf the leaves are just tall triangles with an-
gled bottoms. Place a thin layer of medium-dark green down
one side of the completed leaf and stem for shadowing.
Leaves.
Cut the leaf cane into two pieces, making one smaller
than the other. Reduce them to the appropriate size for
the finished cane. Remember to place the shadowed sides
down towards bottom
of the cane, to repre-
sent how sunlight
would cast a shadow.
Bloom covering.
Make a small tri-
angle of mottled
greens. Cut on the di-
agonal, and insert a
strip of ochre through
it to make the bloom
covering at the base of
the petal. Reduce.
Mosaic background.
I like the look of
the mosaic effect around my flower and leaves but there
are many options when it comes to filling in around the
flower design. Roll out the conditioned clays for the back-
ground canes to 1" diameter snakes. Combine the snakes
into a pleasing combination, forming one mosaic-like log.
Roll the log, bringing the snakes together and eliminat-
ing any gaps. Twist the log, recombine, and roll it out again.
Only do this a few times, at the most, for a choppy mosaic
look. Keep this log large, 23" diameter. When deciding on
background shades, remember that when the logs are re-
duced, the color appears darker. A good rule of thumb is to
always make them lighter than you think they should be. I
recommend testing
your background
cane before going
too far. Cut a small
section off the end
of the log as you
have it now, and
roll down to a
small snake to see
if it is what you
want. If not, add in
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LJMS-060067-018.pgs 09.25.2006 14:45
more snakes of lighter or darker colors to correct it.
Cover the outside of the log with a sheet of navy blue
(pm#5). Roll out into
1
4" snakes and cut the length of the
finished cane. Doing two or more different background logs
makes a nice effect. I usually use the lightest one right up
around the flower, then go darker towards the outside of
the cane.
Assembling the cane.
Tip: I use my canes for more than jewelry and like to keep
sections of the different parts, i.e., petals, leaves, stems,
for later use on 3-D items or relief work. Be sure to set them
aside before surrounding themwith the background snakes.
Build your cane on a sheet of paper so it can be turned
easily while you work on it and then for compressing later.
Check all the part canes to be sure theyre proportional, and
reduce, if necessary. Place the petals so they are standing
up on your work surface and you are looking down on them
from above. Place the large petal in the center bottom, the
two small-bearded petals above the large petal to either
side, then the larger
non-bearded petal in
the middle top, with the
smaller non-bearded
petals to either side.
When theyre properly
placed, be sure to at-
tach them well to each
other.
Flip the cane over
every now and then to
be sure things are align-
ing on both ends. To
keep voids open around
the petals as your build-
ing your cane, place
rolled up paper in the spots until youre ready for the
snakes. Place the bloom covering under the large center
petal, then the stem and leaves.
Make some of the
snakes into triangles
so they fit into the V-
grooves between the
petals. Start placing the
snakes around the
flower, adhering each
snake to the next.
Dont put too many
rows of background
snakes around the
flower, or the flower will
be too small when it is
reduced too much background and not enough of
the flower is not a good thing.
When all of the components are together, check
both ends to be sure parts are in their right
places. Then,
press all the
parts so they
stick to each
other before re-
ducing. Grasp
the cane in your
hands and ap-
ply even pres-
sure on oppo-
site sides, all
the way around,
for the length of
the cane.
Now you are
ready to re-
duce. Remem-
ber: To start
the process,
apply equal
pressure
around the mid-
dle of the cane,
working out to
the ends. When
you get it
longer, wiggle it while stretching.
Because the cane is round, when it gets long
enough, you can also roll it. I cut off a part of the
cane and leave it large, so I can choose the diame-
ter later.
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LJMS-060067-019.pgs 09.25.2006 14:45
Making a bead.
To make a bead similar to the one shown on page 14,
shape a lump of scrap clay slightly smaller than the shape
of the finished bead you want, allowing for the added dimen-
sion of the thin cane slices. Take the reduced iris cane and
slice off two to three pieces. Apply the slices around the
center of the bead. Add slices of complementary canes
around the larger flower slices, filling in the gaps and cover-
ing the entire bead. While retaining the bead shape, press
all the added slices gently, being sure theyre all adhered to
the base bead. Before baking, make a hole in the bead for
stringing or wiring. Bake in your dedicated convection oven (I
only use convection ovens as they hold their temperatures
much more true than a toaster oven) at the manufacturers
recommended temperature for 2040 minutes, depending
on the size of and thickness of the bead. I prefer a matte
finish and leave my work as is right out of the oven, but you
can bring your piece to a nice sheen by sanding with sand-
paper to 1500-grit or by sanding and then buffing with a
muslin wheel on a buffing machine.
There are many ways to use
the millefiori canes and
many more yet to be discov-
ered. What I hope really
comes through in my work is
my love of nature and art.
Frustration in the process
only puts up walls to cre-
ativity so enjoy, and re-
member to have fun! G
Barbara Sperling
is a Chatham, NH-based artist working with
polymer clay and Precious Metal Clay. She is a
State Juried Member of the League of NH Crafts-
men in Polymer Clay, PMC
, and Non Metal Jew-

elry. She was Chairperson on the LNHC Commit-
tee to review and set the standards for Polymer
Clay, and presently serves as a Juror for the
League in Polymer Clay, PMC
, Non-Metal
Jewelry, and Multi-Media. Her work is carried in galleries through-
out the United States, and can be viewed on her Web site. She lives
with her husband, George, in the White Mountains.
22
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LJMS-060067-iris 10/5/06 9:33 AM Page 20
LJMS-060067-020.pgs 10.05.2006 09:20
6" length of
1
4" diame-
ter copper tubing
Tube cutter
28-gram package of sil-
ver PMC+
X-Acto
or craft knife
Textured surface: silver-
ware pattern, rubber
stamps, etc. (for creat-
ing an impressed design
on the beads surface)
Fireproof tile
Bench-top mounted
torch
Bowl of water
Long nose tweezers
Liver-of-sulfur
Extra-fine steel wool
Metal teaspoon
Cotton swab
Round nose pliers
Chain nose pliers
Wire cutters
2 French ear wires
2 head pins
4 spacer beads
4 complementary beads
What you need
Skill level
P
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p
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.
Attention metal clay and glass artists! Ive created a quick, simple, and
economical way to make silver beads. All you need is a little metal clay,
copper tubing, a few tools, and a beadmaking torch. This technique really
stretches your metal clay, enabling you to create a larger bead using less
material.
Making the bead.
Cut a
1
4" piece of copper tubing using your tube cutter.
The thickness of the clay in
the package is about
1
8" thick.
This is a great thickness for this
project. If you are working with
metal clay that has already been
opened and is no longer in the
prepackaged dimension, roll the
lump out to about
1
8" thick but
dont use any oil as it will work
against your goal of applying the
clay to copper.
Using the craft knife, cut a
strip
1
8" wide and
3
4" long.
Wrap the clay strip around the
center of the copper tubing
piece, joining the clay ends to-
gether. Gently roll the clay cov-
ered copper tube back and forth
between your thumb and forefin-
ger until the clay covers most of
the tube. Youll finish covering
the tube in Step 5.
1
silver on copper beads
Getting more out of your metal clay.
BY MARC KORNBLUH
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Slip the tube snugly onto a pair of long, closed
tweezers. Tweezers work well to hold the bead
while you texturize it and later work it in the flame.
Dip your finger into the bowl of water. Rub your
finger on the bead, wetting it slightly. Smooth the
surface of the bead, working the clay from the cen-
ter to the edges, until all the copper up to the edge
is covered and the bead is smooth and uniform.
Choose a texture youd like to use for decorating
your bead, then lightly oil the surface of the tex-
tured tool. The oil will help prevent the clay bead
from sticking to the textured tool.
Gently roll the bead over the textured surface or
stamp the bead gently with the textured tool. Its im-
portant to work gently with the bead so the bond be-
tween the clay and copper isnt broken.
Light your torch. While your bead is still wet and
on the tweezers, bring the bead into the outer
fringe of the torch flame. Rotate the tweezers slow-
ly until the bead dries. Use caution putting the
bead directly into the flame before it is completely
dry might cause the clay to crack. The process of
flame-drying the bead takes about five to seven
minutes to complete.
After the bead has dried, it will ignite momentarily and
then go out, this is the organic binder burning off. Now the
bead is ready to put directly into the flame.
Turn the bead in the flame until it glows a light orange.
Keep moving the bead in and out of the flame to prevent it
from getting too hot (bright orange) too much heat will
melt out the detail of your design; maintain the light-orange
glow. After a few minutes, the clay will shrink and begin to
break out into a light sweat of silver its nearly done.
Continue turning the bead in the flame for a few more min-
utes more silver will appear on the surface. Using pliers,
gently nudge the bead off the tweezers onto a ceramic tile or
other fireproof surface. Let the bead cool to room tempera-
ture. Dont quench the bead in water; the two metals expand
and contract at different rates which may cause separation.
Adding the finish.
When the bead is cool, buff it using extra-fine steel wool.
The bead is now finished or ready for a patina treatment. I
like to apply a patina using liver-of-sulfur. When working with
liver-of-sulfur, be sure to have adequate ventilation, avoid
breathing the fumes, and wear safety goggles.
Add one or two crumbs of gravel (approximately 1 x 2mm
crumb) to
1
21 cup medium hot water. Dip briefly, then rinse
in cold, running water, repeating these steps until desired
color is reached. Stop the chemical action by rinsing in cold
water, then washing in soapy hot water and baking soda.
Using the extra-fine steel wool again, buff the surface of
the bead. The buffing will accentuate the raised area of the
bead, leaving the recessed areas of the design black.
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Making a pair of earrings.
When using the silver beads in jewelry, I like to use spac-
er beads to hide the copper edging. Slip your pattern onto
a head pin,
With round nose pliers, grasp the wire of the head pin
above the last bead added and bend the wire to a 90
angle.
Using wire cutters, trim the wire to about
3
8".
Grasp the tip of the wire with round nose pliers and rotate
the pliers towards the bead, creating and closing a loop.
Slightly twist your head pin loop with chain nose
pliers to open. Thread the open end onto the bottom
loop of your French ear wire; twist the loop to close.
Youve completed your first earring. Repeat Steps
1012 for the second earring.
String a matching bracelet or necklace using all the
other beads youve made, then go back and make
more for your friends! G
Marc Kornbluh
is a glass artist from Burlington, Vermont, built a hot glass
studio for the production of his one-of-a-kind fused glass
and lamp worked glass jewelry. He has traveled overseas
for many years, informally studying art and culture. Much
of his work is influenced by Eastern design, which he in-
corporates in his own contemporary style. Marcs artwork
is available in museum shops and galleries throughout the
country.
10
11
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LJMS-060067-silver 10/2/06 2:00 PM Page 23
LJMS-060067-023.pgs 10.02.2006 14:52
2 glass cabochons
(I used one cabochon
about 2" x 1", the sec-
ond one is a bit smaller)
2025 grams of metal
clay (I used Low Fire Art
Clay
Silver)
Acrylic roller
1mm thickness guides
Spoon tool (similar to
dental tools, except one
end is curved like a
spoon)
Plastic straw
Masking tape
Texture plates (optional)
Circle template
X-Acto
blade
Food dehydrator, hair
dryer, or hot plate
Salon board or file
Denatured alcohol
Kiln
Steel brush
Optional: Tumbler and
stainless steel shot
What you need
P
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.
I love the uncomplicated beauty of glass. I am a fused glass artist, and
to enhance the look and uniqueness of my fused glass cabochons, I use
the amazing medium metal clay. The low-fire metal clay now available,
particularly Art Clay
Silver, is very compatible with fused or lamp-

worked glass. My approach to combining the two elements (glass and
metal clay) may be different from other artists, as I use the metal clay to
capture the glass, taking advantage of the clays shrinkage.
A few things to remember when constructing a piece: Take into ac-
count the percentage the silver will shrink. Work the clay around the glass
gently, but securely; any silver touching the glass must not be tight fitting
it should gently lie on, or just touch, the glass. If the silver is securing
the glass cabochon too tightly, the silver may crack at the tightest point
when fired. At the 1200F firing temperature glass will stay intact, so if
theres any give needed it will be in the silver.
Now the fun begins!
double the
pleasure
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BYARLENE HILDEBRAND
LJMS-060067-double 9/26/06 4:16 PM Page 24
LJMS-060067-024.pgs 09.27.2006 08:08
Making the O-ring connector.
Knead 5 grams of clay into a pancake shape.
Using an acrylic roller, shape the clay into a 1mm-thick
round shape. Texture the clay, if desired.
Using a circle template as a guide, cut out a 7mm circle
from the clay.
Using the circle template, cut a 4mm circle out of
the center of the circle created in Step 3. This is your
O-ring connector.
Allow the connector to dry. Here are a few drying methods:
Place the connector in a food dehydrator or on a warm hot
plate; dry with a hair dryer; or leave it out to air-dry (which
takes about 24 hours, depending on your climate).
When the connector is dr y, wrap a small piece
of masking tape around the top and another
piece around the bottom. The tape will prevent
the next layer of clay to be added, from sticking
to the O-ring.
Making the top glass piece.
Knead 10 grams of clay into an oblong shape.
Using an acrylic roller, shape the clay into a long
strip thats 1mm thick,
1
2" wide, and twice the
length of the glass cabochon.
Lay the glass cabochon in the center of the clay
strip and orient the glass the way you want it to
look in your finished piece.
Place a 1" piece of plastic straw on the clay, at the
top of the glass cabochon. The diameter of the straw
will determine the size of the bail and, more specifically,
the size of chain that will fit through the bail.
Using the spoon tool, lift up the top of the clay
strip, guide it over the straw, and then gently over
the top of the glass cabochon. Guide the clay until
its wrapped to one side of the glass and secured
down on the side (or back) of the glass cabochon.
Trim any excess clay.
1
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5
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7
8
9
10
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LJMS-060067-025.pgs 10.02.2006 14:53
Place a 1" piece of plastic straw at the bottom of
the glass cabochon. Here the straw is used for
two reasons: first, to create space for the shrinkage
that will occur when the piece is fired; second, to
create a loop that, after firing, will allow the O-ring to
move giving movement to the piece.
Use the spoon tool to lift up the bottom of the
clay strip, guide it through the O-ring, and over the
masking tape.
Continue to guide the clay, gently laying it over the
bottom of the glass and over the straw, securing the
clay to the side (or back) of the glass. Trim any ex-
cess clay.
Allow the clay to dry.
Carefully remove the straws. If needed, use a salon
board or file to gently sand any rough edges on the clay.
Create the bottom glass piece.
Knead 7 grams of clay into an oblong shape.
Repeat Steps 8 and 9.
Place a 1" piece of plastic straw on the clay, at the top of
the glass. Again, this straw is used to create an al-
lowance for shrinkage and a loop for the O-ring to move on.
Use the spoon tool to lift the top of the clay strip and
guide it through the O-ring, over the masking tape. Contin-
ue to guide the clay, gently laying it over the straw and on
top of the glass; secure the clay to the side (or back) of the
glass. Trim any excess clay.
Repeat Steps 14 and 15.
Clean the glass cabochons with denatured alcohol and re-
move the masking tape. If you cant get the tape off easily,
leave it alone it will burn away during the firing process.
Fire the piece in a kiln. Heat the kiln to 1200F and hold
it there for 35 minutes. Allow the kiln to come to room
temperature before removing the piece no peeking!
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LJMS-060067-026.pgs 09.25.2006 12:23
Clean your piece with a steel brush.
Tumble, if desired, using stainless steel shot and just
enough water to cover the shot.
Tumbling your piece will definitely let you know if the glass
is securely fitted to the metal. If the glass falls out during
tumbling, all is not lost simply use epoxy to hold the glass
in place. And next time, wrap the clay around the glass more
securely from front to back.
Wear and enjoy! G
Arlene Hildebrand
has been a fused glass and metal clay artist for
several years working from her home studio in
the San Francisco Bay area. Her finished work is
sold through her business, AM Collection. In ad-
dition to pursuing her own creativity, she loves to
teach. See more of Arlenes work and her teaching
schedule on her Web site: www.amcollection.biz.
23
24
LJMS-060067-027.pgs 10.02.2006 14:52
Link Bracelet
PMC
chain fired in one piece.

BY HADAR JACOBSON
This bracelet is fired all in one piece. It is assembled prior to firing
and the links dont fuse together. It comes out of the kiln almost ready
to wear.
The links.
Roll a layer of standard PMC
eight cards thick. Since you need long

strips, it is recommended to use jumbo-sized cards or postcards. Lay
the two stacks of cards over a texturing mold such as a wallpaper sam-
ple or a piece of ribbon, screen, fabric or lace. Roll a snake of PMC
with your fingers and place it vertically between the stacks. Then roll the
snake with the rolling pin under a Ziploc
bag.
From the textured layer, use a long scraper to cut a strip 80mm long
and 5mm wide.
Standard PMC
PMC+
A rolling pin
Olive oil or hand salve
A Ziploc
bag
Postcards or jumbo size
playing cards
Texturing molds
A long scraper
Scissors
Sponge sanding pads,
fine, super-fine, and
ultra-fine
Clay shaper
Kiln
Kiln shelf
Alumina hydrate
Liver-of-sulfur
Rotary tool
Course mini-fiber wheel
Goggles
Fiberglass brush
Wet/dry sandpaper,
220-grit and 600-grit
2 triangular or rectangu-
lar sticks, 1 foot long
Slotted mandrels
What you need
Skill level
P
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LJMS-060067-028.pgs 09.25.2006 12:30
en. Try to open them again, but make sure you dont
touch the textured part.
Place slip at all the joints except for the last one,
which will be connected to the hook. Hold them to-
gether with small clothespins and dry.
Roll a layer of standard PMC
2 cards thick over

a texturing mold.
Cut a strip 3mm wide. Dont cut the length yet.
Wrap it three times around the joint of one of the
links, partially overlapping, as shown in the illustra-
tion. Cut off the excess of the strip with scissors.
Dry.
Repeat Steps 9 and 10 with five more links and
the eye. Dont close the seventh link yet.
The hook.
For the hook, use PMC+
. This is needed for extra

strength. Since a lot of bending is involved, it is
best to use fresh clay for the next few steps. Roll a lay-
er of PMC+
four cards thick over a texturing mold.

8
9
10
11
12
Lay the strip on its long side and shape it into a figure
8. Make sure that the textured side faces outward.
Place a pencil inside each of the circles to make sure they
are well rounded. This is necessar y to make room for the
next link and to allow for movement. Dr y on a cof fee
warmer, in a vegetable dehydrator, in a toaster-oven at
220, or in the air.
Repeat Steps 13 six more times. You will need seven
links for a 7
1
2" bracelet. You can use a different texture
for each link.
Prepare the eye part of the clasp: roll a layer eight
cards thick as in Step 1, and cut it 60mm long and 5mm
wide. Lay it on its side and shape it into a circle. Dry.
Using sponge sanding pads, smooth the plain (untex-
tured) sides of the links and round their edges. Start with
fine, continue with super fine, and finish with ultra-fine.
Assemble all the links including the eye: open one link
slightly and slide in the next one. If they are too hard,
spray them with water and wait a few minutes until they soft-
3
4
5
6
wrong wrong wrong
right
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LJMS-060067-029.pgs 09.25.2006 12:31
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Place it on its side and shape it into a hook as
shown on the illustration. To make sure that textured
side faces outwards, follow illustrations 1 and 2.
Dry.
Close the joint with slip and dry. It is not recom-
mended to use a clothespin this time since dry
PMC
is very brittle and may break.

Sand the sides of the hook with a super-fine
sponge sanding pad. It is best not to handle dry
PMC+
too much before firing to avoid breaking.

Roll a layer of PMC+
two cards thick over a

texturing mold. Cut it 3mm wide. Dont cut the
length yet.
Wrap the strip around
the joint of the hook. Fol-
low the direction shown
with the arrows in the illus-
tration. Dry.
Slightly open the sev-
enth link of the bracelet
(the one that has not been
sealed yet). Slide in the
hook.
Repeat Steps 9 to 11 with
the seventh link.
The links will tend to open up
during firing in spite of the strip
wrapped around their joint. Push
clay under the strip to better
seal the joints. Use a clay
shaper to smooth the clay. To
seal the hook use PMC+
. Dry.
Firing.
Before firing, make sure that
all links have enough room to move in all directions.
Place the bracelet on the kiln shelf diagonally over a pile
of alumina hydrate. It is best to fire it stretched straight,
but if you have no room, avoid bending it at sharp angles.
Sprinkle alumina hydrate over the whole bracelet to prevent
the links from sticking to each other.
Fire for 2 hours at 1650.
Finishing.
Dip the bracelet in liver-of-sulfur until it is completely
black. If the links seem to stick to each other, gently wig-
gle them and they will separate.
Buff the bracelet with a course mini-fiber wheel to remove
the liver-of-sulfur. Protect your eyes with goggles.
To remover the liver-of-sulfur from hard-to-reach spots,
use a fiberglass brush.
Sand the smooth (untextured) parts with a sanding stick
wrapped with 3M wet/dry 220-grit sandpaper. Follow with
600-grit.
Use a slotted mandrel mounted on a rotary tool to sand
inside the links. Start with 220-grit and follow with 600-grit.
Tumble the bracelet for about an hour. Avoid over-tum-
bling. If its too shiny, you will not be able to tell one tex-
ture from another. G
Hadar Jacobson
creates her silver PMC
jewelry and teaches class-

es at her studio, Textures in Berkeley, Califor-
nia. For photos of her work and information
about galleries, awards and publications please
visit her website: www.artinsilver.com. For ques-
tions, information, or advice, please e-mail her at
hadar@pacbell.net.
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LJMS-060067-030.pgs 09.25.2006 12:31
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Porcelain clay or other
smooth clay
Kemper Klay gun and dies
Box of short coffee
stirrer straws
Knife
Ruler
Clay cutting wire
Plastic wrap
Bowl of water
Raku glaze: transparent
crackle glaze
(I use Hoku-trans)
Wooden skewers
Access to bisque-firing
kiln, raku kiln, and appro-
priate tools and safety
equipment
Bead frame and heat-re-
sistant wire or heat resist-
ant rods with ceramic
supports
Metal container (with
tightly fitting, airtight lid)
suitable
for containing bead frame
Beading wire
Balinese silver beads
Silver clasp
4 silver crimp beads
Crimping pliers
Wire cutters
Always ask for the MSDS (Material
Safety Data Sheet) for any materials
you buy, which will give you reactivi-
ty, health hazard, and safe handling
data.
What you need
Skill level
P
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Folded
Raku Bead
Necklace
BY SUE KI WILCOX
These folded beads are a form of extruded or shaped
clay, and have contours that resemble brains. I cant
guarantee that wearing them will make you more
intelligent, but they will attract attention. I use porce-
lain clay because of its pure white color and consis-
tent, fine-grained texture that gives a smoother ex-
trusion or hand-rolled coil. If youve heard warn-
ings about the use of porcelain in raku, relating to
how it withstands thermal shock, ignore them. At
the scale were dealing with here, porcelain is fine.
You can use conventional raku clay if you prefer, but
understand that it will produce more roughly surfaced
beads, and, when used with a transparent glaze, they will
be cream or pale gray, not white.
Think about the length and style of necklace you want
to make, and whether or not you want matching acces-
sories, such as earrings, bracelets, or pins. Raku gives
brilliant but hard-to-reproduce color effects, so all the
beads for one project should be fired and reduced to-
gether. Thinking about how many beads you need, and
what sizes they should be, will save the frustration of try-
ing to find beads to fill the gaps in your necklace later.
Better to make too many than too few (make some
spares in case of accidents).
To produce a set of graduated beads, hand-roll a
length of clay of an even cross-section, then use the
ruler to mark it into different sized chunks to make into
individual beads. Estimate the size you want for the fo-
cal bead and measure it off the roll. Make the bead and
see if it appears to be the right size. After firing, a bead
will shrink by about 10%. (If that one ends up being the
right size, you can proportion the other beads by cutting
a little less for each subsequent pair of beads. For the
smaller beads, you will need to mark out enough clay
for two or four beads at a time. As long as you know
how many beads to get out of the clay, you can divide it
up equally enough by eye.)
1
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LJMS-060067-031.pgs 09.25.2006 12:32
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Use an extrusion gun to make the long coils of clay.
This little gadget is perfect for making continuous,
even-sectioned coils of clay. Before starting produc-
tion, experiment with the different extrusion dies to
find the size that works for you. I use a medium-
sized die a too-small die produces sticky, unman-
ageable threads (instead of coils); a too-large die
produces coils that are hard to bend without snap-
ping them. Try hand-rolling some coils and folding
them gently into spheres. The size that works with
hand rolls will work with extruded coils.
The humidity of your clay and your environment
will affect how the coils handle. If the clay is too
sticky, the coils will gum together and not fold well,
while if the clay is too dr y, the coils will break as
you tr y to fold them. My solution is to keep the
main block of clay in the thick plastic bag in which
it is sold. Immediately wrap any smaller pieces cut
off the main block in plastic wrap. If the moisture
content feels low, sprinkle the clay with water be-
fore wrapping it. The water will absorb fairly quickly.
Dr ying clay is just as easy just roll out the clay
on a piece of cloth (an old dishtowel is per fect).
When you are ready to extrude the clay, dip the
quantity earmarked for a bead or a pair of beads in
water before putting it in the extrusion gun. This
process makes the process much easier, but doesnt
give the water time to soak into the clay.
As the coil emerges from the gun, let it settle
lightly into a heap on your work surface. Use a
wooden table or a large
plastic chopping board.
The cloth-covered work
boards found in ceram-
ics studios will dry
bead work too much,
and tend to contain tiny
particles of clay that
stick to the coils and
ruin the smooth sur-
face. Keep your hands
relatively clean if
they are covered in
flakes of clay, your
beads will be, too. Very
gently cut the clay from
the gun and pick up the
heap of coils.
Shaping a spherical
bead involves patting and
a small amount of rolling
too much rolling between your
palms, however, and the coils disappear.
Its a matter of practice and becoming accustomed to
how temperature and humidity af fect the handling proper-
ties of your clay. You want just enough adhesion to form a
bead that will have enough internal structure that it wont
collapse when you bore a hole through it.
Gently set down the bead. If you want a flat-sided
bead, press it onto the work sur face, turn it over, and do
the same on the other side.
Depending on the way the clay is handling, you can
make the hole immediately or leave the bead to dr y out
a little five minutes is plenty of
time. Cup the bead in your palm and
rotate a hollow straw to make a
hole. The hole should be beside,
not in the middle of, the sur face
coils, so as to reduce the friction as
the straw penetrates the clay. Bore
ver tically into the bead, checking
the opposite side as the straw ap-
proaches. Gentle rotation should
help the straw to cut through
cleanly.
Remove any plug of clay
on the end of the straw be-
fore withdrawing it back
through the bead. This
method will flatten one
side of the bead, so youll
have to turn the bead over
and flatten the other side to
match. Set the bead aside to dr y.
2
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LJMS-060067-032.pgs 09.25.2006 12:32
Gl azi ng & f i ri ng:
Youll need access to a kiln for this project. If you
dont have a kiln at home, there are many commer-
cial ceramic places that will bisque-fire your beads
for you. These same suppliers can sell you raku
glazes for your beads. You can also join a local raku
group who will let you participate in one of their
firings. (I often work with the local YWCA; its
group holds monthly firings. They supply portable
kilns and some reduction containers.) Community
colleges are another good place to try. Working with
an established group gives you the safety and skill
of experienced firers.
Once your brain beads are dry (youll need at
least 24 hours, depending on your workroom and
the surface on which you set them), put them in an
unglazed ceramic bowl for bisque firing, which is a
preliminary cooking of the beads to prepare them
for glazing.
Dip your bead into the glaze. The glaze should
fill all the folds and contours of the bead; howev-
er, you dont want coating so thick that it drips of f
the bead. The easiest way to dip a bead is to put
it on a wooden skewer or the straw with which you
made the hole, then quickly dip it in glaze using a
rotating wrist motion to ensure that the whole sur-
face is covered. Rest the skewer across two sup-
por ts so the glaze can dr y. About two minutes
should be long enough, as you are simply waiting
for the water in the glaze to be absorbed into the
porous bead.
In order to complete the bead, its necessary to
melt the glaze without letting the bead stick to oth-
ers next to it. I use wire to support and separate
each bead and to attach them to a bead frame. An al-
ternative is to fire beads on horizontal rods of stain-
less steel or Nichrome heat-resistant alloy, using
disks of ceramic paper to prevent them from touch-
ing, but you will encounter difficulties moving the
beads when they are red hot.
Fire the beads to 1800F. Firing length is a matter
of judgment; it is an art that would take more room
than I have here to describe. Try working with an established
group to learn from their knowledge and skill. When the
beads are done, its time for reduction, which is the process
of removing combined oxygen from the glaze; it gives a
metallic luster to the piece. To achieve a good reduction, its
important to keep oxygen away from the beads until theyre
cool enough for the glaze to set. The main way to do this is
to keep them in a smoky atmosphere where burning com-
bustibles (paper, leaves) use up any oxygen that leaks in.
Remove them to a reduction container and lightly reduce
them using newspaper as the combustible material. Beads
demand a fairly small reduction container, so use one that
can contain your bead frame with a few inches to spare for
shredded newspaper, and that has a tightly fastening lid. (A
1' galvanized steel trashcan works well if you fill the hole in
the lid with a nut and bolt.) Reduction should take approx.
thirty minutes.
Caution: This is the dramatic and potentially dangerous
part of the raku process. Handling red-hot beads on a bead
frame, pulling them from the kiln while theyre at maximum
temperature, plunging them into inflammable materials, and
sealing them in a container to marinate in a low-oxygen at-
mosphere calls for skill and care. For your first time, you
may want to get someone else to handle it for you, or at
least spend some time watching how others do it. Be sure to
wear protective clothing and use the proper tools: long
sleeves, gauntlets, a face mask, and tongs.
After reduction, dunk the still-warm beads in cold water,
wash off the burnt newspaper, and admire the final color.
The finished beads should be a shiny white with a fine gray
crackle. The silvery color is a smoke coating. Although it will
come off if rubbed with an abrasive pad, you may prefer to
leave it on, at least in the recesses of the folds, as it gives
the beads an aged and mysterious look.
For stringing, use Balinese silver spacers and a clasp. Be
sure that the beading wire you use is strong enough to
hold these beads, and is resistant to abrasion from the oc-
casional rough spot on the bead cores. G
Sue Ki Wilcox
is a freelance writer specializing in new computing technologies, graphic
design, and high-tech art who tries to keep carpal tunnel syndrome at bay
by making raku beads. She is working on her latest book, a compendium
of raku beadmaking techniques, and warns readers that these beads can
take over your life. Contact her via e-mail at suewilcox@bigfoot.com.
6
7
8
9
10
Jewelry
STEP BY STEP
www. st epbyst epwi re. com
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Painted polymer takes
art to new heights.
BY PATRICIAKIMLE
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LJMS-060067-034.pgs 09.25.2006 12:25
1 ounce pieces of polymer clay in
pearl and white (I like Premo
be-
cause of its color and durability)
Pearl-Ex Brilliant Gold powder
(optional)
Pinta Inks by Jacquard
Claro Extender
70% isopropyl alcohol (rubbing al-
cohol)
Water-based varnish (optional)
About 40" of .024" diameter 24K
flexible beading wire (I used Soft
Flex
24K Gold Flex Wire
Assorted accent beads

Approx. 20 gold crimp beads
French ear wires
Pasta machine dedicated to clay
Round paint brushes, small and
medium
Small cup to hold alcohol
Small sheet of glass or plexi-glass
for palette
Acrylic rod for rolling
Cutting blade
Circle cutters or circle template in
several sizes, approx. 1
1
4", 1
1
2",
and 2"
Standard light bulb and 40-watt
appliance bulb
Sheet of drywall sanding screen
Cyanoacrylate glue (I use
Loctite
or Zap-a-Gap
)
Crimping pliers
Flush cutter
1mm drill bit in pin vise or hand
drill
What you need
Skill level
P
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a
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.
Its good for artists to make an effort to keep learning and expanding
their experiences. Afew years ago, I took a traditional watercolor painting
class loved it, and have now done many paintings for family and
friends. Eventually, I began looking for ways to bring that watercolor
knowledge to my work with polymer clay. What I found was that you can
achieve very similar traditional watercolor effects by substituting alcohol
for water, and alcohol soluble inks for the pigment. This project uses the
basic painting techniques of wash, wet-in-wet, and dry brush to create
spectacular beads.
Painting a sheet.
Condition the clay by kneading and rolling it until you have a sheet with
a smooth consistency. Blend about
1
2 package of white polymer clay
with
1
2 package of the pearl clay, increasing the pearl quantity for a more
shimmering effect or increasing the white for a more matte effect. On your
pasta machine, using the middle setting, roll out a sheet of clay that is ap-
proximately 5" x 8" x 1mm thick.
1
lentil beads
pastel
LJMS-060067-035.pgs 09.25.2006 12:26
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Lightly sprinkle and brush on some Pearl-Ex Bril-
liant Gold powder, if you like this is optional.
Apply several colors of ink to the palette, using
one or two drops of each color. Its okay if the col-
ors dry on the palette, they will be redissolved with
the alcohol. Pour a tablespoon of rubbing alcohol into
a cup. Dip the brush into the alcohol and wet some of
the ink on the palette. Begin by applying washes of
color in stripes across the sheet. Try to have each
stripe blend froma dark edge to a lighter edge.
Add spatters, drips, streaks, etc. of other colors
after the washes are dry. Try putting drips of one
color into areas of another color, before they dry, to
see them mingle and spread. Paint lines or shapes
with a very dry brush (colors picked up with the
brush and then the alcohol dabbed out on a dry tow-
el). This is like painting with watercolor; you can vary
the strength of the pigment and the carrier as you
dip your brush. Experiment by using the Pinta Ink
Claro Extender (which comes with inks), instead of
alcohol. The extender will give the paint a shinier
look versus the matte effect of the colors applied
with alcohol.
Using a long clay blade, cut the sheet into strips about
1
4" wide. Shift the strips side-to-side, or turn every other
strip end-for-end, to create a new pattern.
When youve arranged all the strips to your satisfaction, roll
them firmly with an acrylic rod so the seams between the
strips are sealed together. Using additional white clay, roll a
very thin, 1mm thick sheet the size of your painted sheet;
lay it on the back side of the painted sheet. Roll the two
sheets together with the rod.
Cutting discs for beads.
Using circle cutters or a circle template, cut several sizes of
discs. Be sure to cut two same-sized discs for each bead.
Carefully press the circles onto the round end of a light
bulb. Make sure the edges are pressed smoothly to the
glass and do not dent or mar the painted surface the paint-
ed side does not get sanded for imperfections or mistakes.
2
3
4
5
6
7
LJMS-060067-036.pgs 09.25.2006 12:24
For the larger discs, use a standard bulb; smaller circles,
use a 40-watt appliance bulb.
Bake the clay on the light bulbs according to the manu-
facturers directions on the package. Allow the discs to
cool and then pop them off the glass.
Using your clay blade, carefully trim the protruding corner
off of the back-rim edge so youll have a flat surface for
the glue that will be applied later. The disc edges need to be
cut so they are parallel with the plane of the back circumfer-
ence. By trimming roughly with your blade first, youll elimi-
nate a great deal of sanding in the next step.
Sand the disc edges smooth by rubbing them across a piece
of sanding screen several times.
When the surfaces are smooth and even, glue two halves to-
gether with cyanoacrylate glue; set two of the smaller discs
aside for your earrings. After the glue has dried, drill holes
into each side of your beads in preparation for stringing.
(Optional): If you did not apply the Pearl-Ex at the begin-
ning, try painting every other stripe of the bead with
a water-based varnish. The contrast of matte and
shiny is very attractive.
Stringing the necklace.
Cut a 32" length of beading wire, longer or short-
er if you prefer. Lay the beads out on a bead tray
or cloth. Mix up the accent beads into a somewhat
random arrangement, with no more than 1" clusters
on either side of your lentil beads.
Add a crimp bead on each side of the bead cluster
and compress the crimp bead with crimping pliers to
secure your cluster in place. Leave approximately 1"
of wire showing between each bead cluster.
Once youve finished stringing all of the beads on
one side of the necklace, add one crimp bead.
Bring the end of the wire back through the crimp
bead, leaving a loop in the wire. Continue feeding
the wire back through a few of the last accent beads
and compress the crimp bead to close, as before.
Using your flush cutters, trim the end of the wire
close to the crimp.
For the other side of your necklace, just before
you add the last cluster of beads, string on your
crimp bead but dont close it. String your final clus-
ter and add your second crimp bead. Thread the end
of the wire through the loop you made on the other
end of the necklace. Bring the wire back through the
8
9
10
11
12
13
14
LJMS-060067-037.pgs 09.25.2006 12:26
second crimp and several of the beads. Close the
first crimp then trim the end with your flush cutters.
Slide the bead cluster towards the looped ends,
and compress the second crimp to complete your
necklace.
Stringing the earrings.
With a hand drill and 1mm bit, drill a hole in the
disc about
1
3 the distance across the diameter.
Cut a 5" length of beading wire and add a cluster of
small beads (about 1" long) to the front side. Check
that the cluster is going to curve smoothly.
Using three crimp beads, place the first and sec-
ond next to the bead cluster and the third on the
other end of the wire, behind the disc. Slide the
back wire through crimp beads 1 and 2, making a
circle. Draw the wires up to close the circle and
tighten the crimp. Slide the front wire end through a
couple of the beads and trim the end. Push some slack of
the back-wire end through crimp 2, creating a slightly invert-
ed v between the two wires. Compress crimp 2 with crimp-
ing pliers to close. Slide the remaining wire end through
crimp 3 (at the back of the disc) and tighten the crimp close
to the hole. Trim the excess wire with your flush cutters.
Connect a French earwire to the inverted v. G
Patricia Kimle
Patricia Kimle has been creating jewelry and fine
craft items with polymer clay for 15 years. She is
the author of Polymer Clay Inspirations, new from
North Light Books. She exhibits her work and
teaches polymer techniques around the country.
More examples of Patti's work can be found at
www.kimledesigns.com.
15
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LJMS-060067-038.pgs 09.25.2006 12:27
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LJMS-060067-039 10/2/06 2:26 PM Page 39
LJMS-060067-039.pgs 10.02.2006 14:54
Fracture Patterning
Technique
BY HELEN BREIL
Recently, Ive become fascinated with the interesting crackle effects that
can be achieved with paint on polymer clay. By applying a layer of paint
onto a sheet of clay, then running the sheet through a pasta machine, amaz-
ing crackled patterns occur. I began working with acrylic paints, but moved
on to tempera after being inspired by Tony Aquinos article in PolymerCAF
magazine.
To push this idea further, I began experimenting with textures. By
adding a texture to the surface of the clay before applying the paint, I was
able to achieve some striking effects and a technique I call fracture pattern-
ing emerged.
Make the patterned sheet found on page 44 or use ideas and inspiration
found here. Your finished sheet can then be used in the Patterned Polymer
Pendant on page 45.
PAINTING
I recommend Van Aken
Jazz Tempera Paints because of their heavy pig-

ment load and rich vibrant colors. Ive found other tempera paint brands
are thin and therefore require many coats.
Paint a sheet of clay so the paint totally conceals the clay beneath. The
number of coats will depend on how thick and opaque the paint is. I find
with black paint, one coat is often enough; but with white paint, two or
more coats may be needed. The thicker the layer of paint, the larger the
crackle and I like the dramatic effect of large crackle.
If the paint is too thick, you might want to thin it with water. Dont get
too carried away with the paint if the coat is too thick, the paint may
flake off when dried.
Let the paint air dry for approximately 45 minutes. Be sure its thoroughly
dry or you will not get the desired crackle effect.
CREATING THE CRACKLE EFFECT
Put the dried sheet through the pasta machine, starting at the second-
thickest setting. Adjust the setting, going progressively thinner with each
pass through the pasta machine, until you reach a pleasing balance be-
tween the exposed clay and the fractured paint.
You can turn your sheet a quarter-turn at each thickness setting, if you
wish. I prefer to have the sheet go through the same direction each time,
because the pattern of crackle runs roughly parallel with the edge being
fed into the pasta machine. The tiger print pendant shown on page 41 is a
good example.
As the clay passes through the pasta machine, youll see the gaps between
Photo of finished piece by Frank DeSantis;
all other photos courtesy of the author.
tips&techniques
LJMS-060067-pattec 9/25/06 10:07 AM Page 40
LJMS-060067-040.pgs 09.25.2006 12:30
the paint-crackle widen. If the sheet starts getting too thin
before youve achieved the results youre happy with, back
the painted sheet with another layer of the same color clay,
set your pasta machine back to a thicker setting, and contin-
ue to roll the sheet through until you have the results you
like. Your sheet is now ready to use in a project.
This tiger print necklace is an example of the basic, no-tex-
ture technique.
ADDING A TEXTURE
I wanted to see if I could create a pattern with the crackle
and found that having a texture in the raw clay, before the
paint was applied, was the answer. The texture causes the
paint to puddle becoming thicker in the textured indents
and thinner on the surface of the clay.
Once the paint was dry, I rolled out the sheet on
the pasta machine starting at the second thickest
setting, and going sequentially thinner, turning the
sheet a
1
4 turn with each setting, until I reached the
#5 setting. The result is a flat sheet with a very dis-
tinct pattern.
PROTECTIVE COATING
HIGH-GLOSS: Before I put the piece into the oven
for baking, I applied a very thin layer of Kato Liquid
Clay
over the surface with a small brush (or your

fingers) to protect the paint. I recommend the Kato
brand of Liquid Clay because of its transparency and
ability to self-level. Tempera is water-based and will
wash off or flake if not protected.
Tempera dries to a very matte finish. For the tiger
print necklace, I chose a high-gloss Varathene
fin-
ish. This takes the black from dull to shiny, intensify-
ing the color, and adding to the overall effect. Im a
big fan of the high-gloss Varathene
finish with this

technique.
MATTE: For the powder-blue, radiating-lines pin
shown on page 42, I used the Flecto Satin Vara-
thene
because, in this case, I liked the matte fin-

ish. You can decide for yourself, but please note, its
important to protect the tempera with something
Kato Liquid Clay (before or after initial baking)
Varathane
, or both.
If you use Varathene
, I recommend using the

drip method, if possible, in order to get a smooth,
flawless finish. Please see Elissa Powells instruc-
tions on this process
(http://www.pcpolyzine.com/february2001/
varathane.html)
SOME OF MY FAVORITE
TEXTURES
A - Tulle from fabric store
B - Clearsnap molding mat Designer
Bento Box
C - Plastic netting from fabric store
D - ShadeTex texture plates
E - Wire mesh
F - Plastic canvas 14-mesh
G - Wavy metal comb
A
B
C
D
E
F
G
LJMS-060067-041.pgs 09.25.2006 12:31
FRACTURE PATTERNING IDEAS
PLASTIC CANVAS 14-MESH: This pattern was made
with a 14-mesh plastic canvas sheet, texture F. Fluorescent
green tempera paint on blue clay with a gloss finish.
CLEARSNAP MOLDING MAT: I used a Clearsnap mold-
ing mat to create this radiating-lines pattern. The clay is a
combination of Kato
pearl and a bit of blue with white

paint on top.
For this sheet I also used a Clearsnap molding mat (texture
B above). Blue and pearl clay was used with silver tempera.
Here are some general pointers for getting good results
and various ideas to try:
1. Pick clay and paint colors that have good contrast. If
the colors are too similar, the patterning effect is lost.
2. Metallic and pearl clays have the most impact with this
technique, adding a coat of high-gloss Varathane
will en-
hance the shimmering mica effect.
3. Textures that have small and deep patterns work best.
The textures pattern will be stretched out on the pasta
machine, so you need to start small especially for jew-
elry large patterns are lost on a small piece.
4. In some cases, the first coat of tempera paint re-
sists against the clay sur face. This may be because I
had Armor-All
on the texture sheet, which got trans-

ferred onto the clay. If you get a resist effect, put the first
coat on as best you can and let it dry. Youll find subse-
quent coats of paint will go on properly.
5. You can make the patterning more obvious by putting
paint on the textured clay and letting it puddle in the in-
dents. Then, take a piece of paper and lay it flat on the
clay to soak up the surface paint.
6. The Jazz Silver and Gold Tempera hold the patterns
very well. Try adding a bit of white or black to them if you
find them too glittery straight from the bottle.
7. The paint will fracture parallel to the edge of the clay
being fed into the pasta machine. This is impor tant if
youre tr ying to get a striped effect and need to know
which direction the stripe will go.
8. Experiment with the direction you feed the painted
sheet into the pasta machine. For example, if you use a
plastic canvas as your texture, continually feeding the
sheet through the pasta machine in the same direction
will give you a striped effect. If you do a quarter-turn with
each subsequent setting, you will get a grid effect.
9. Experiment with different thicknesses of paint, which
will result in different sizes of crackle.
10. Experiment with different textures. Create a reverse
texture from the textures you already have. To create a re-
verse texture, impress any texture into a sheet of clay, re-
move the texture, then bake the clay. You now have the
negative of the original texture which, when applied to a
fresh sheet of clay, gives you the reverse of what the orig-
inal would give. A texture I created using this method is
the reverse of a piece of plastic canvas, which makes a
very distinct polka-dot pattern.
11. Tr y Skinner blends with the clay, or more than one
color, on a single sheet with the paint.
12. Try using gold or silver-leaf foil on the raw clay, put-
ting it through 1 or 2 settings on the pasta machine, then
painting on the tempera.
TIPS & IDEAS
tips&techniques
LJMS-060067-042.pgs 09.25.2006 12:31
CIRCULAR PATTERNED PLASTIC CANVAS SHEET:
This was made with a circular patterned plastic canvas
sheet, using mixtures of orange and pearl clay with red and
gold tempera. This creates a large pattern so you would
need to use your sheet on a large piece of clay.
WAVY COMB: This one was made with a wavy comb, tex-
ture G, but you would never know it. I almost threw this one
away, but once I used it and applied the gloss, I liked the ef-
fect very much. A very fine pattern of black paint makes for
a very organic and interesting surface effect. G
Helen Breil
is a mixed media jewelry artist, founding member
of the Southern Ontario Polymer Clay Guild and
a member of the Canadian national online
Clayamies group. She is a contributing writer to
PolymerCAF magazine and has been creating
jewelry and fine craft items for approximately 8
years. You can contact her by e-mail at
hbreil@sympatico.ca.
LJMS-060067-pattec 10/2/06 2:07 PM Page 43
LJMS-060067-043.pgs 10.02.2006 14:53
Van Aken white Jazz
tempera paint
Van Aken silver
metallic Jazz tempera
paint
Paint brush
Polymer clay in colors
of your choice
Amacos Paragana
wire form,
1
16" pattern
Pasta machine
What you need
Skill level
A
l
l

p
h
o
t
o
s

c
o
u
r
t
e
s
y

o
f

t
h
e

a
u
t
h
o
r
.
Conditioning the clay.
Choose the color clay youd like to work with; I used
a mixture of blue, green, pearl, and silver Kato
clay. Before you can use the clay in the project it must
be conditioned. Conditioning makes the clay workable
and is important for ensuring strength after baking. To
condition the clay, cut the block into sheets 23mm
thick. Feed one sheet through the pasta machine then
fold the sheet in half. Place the folded sheet, fold-first,
through the pasta machine again. By placing the sheet
fold-first, youre helping squeeze out any trapped air
and reducing the risk of getting air bubbles in your
sheet something you dont want. Repeat this
process 1520 times for each sheet.
Roll all the conditioned clay sheets together, then
roll them through the thickest setting of your pasta
machine.
Adding a texture.
Put the texture form
on top of the sheet of
clay and run both through
the pasta machine again,
keeping it at the same
setting.
Using a paintbrush,
apply a layer of paint. Let the paint dry for 45 min-
utes then assess whether the layer of paint is thick
enough to achieve the results youre after. Experi-
menting is the best way to learn what you like.
Notice how the pattern is
visible even with the paint
on the clay; its pooled in
the indents of the texture
and very thin on the sur-
face. The thickness of the
paint in the texture yielded
the look you see in the
photo in Step 4.
Allow the paint to dry for
45 minutes. If you think the paint is thick enough, go
on to Step 4 if not, apply additional layers of paint,
drying at least 45 minutes between each layer.
Once the paint is dry,
roll the sheet through
the pasta machine, start-
ing at the second thickest
setting. Adjust the setting
and roll sequentially thin-
ner, turning the sheet a
1
4
turn with each setting, until
you reach the #5 setting.
You now have a finished
sheet of Fracture Patterned clay that can be used
in the pendant project to follow. G
fracture
patterned
sheet
This project focuses on the patterned crackle ef-
fect shown in the pendant on page 45. For addition-
al tips and inspirations on this technique see Frac-
ture Patterning Technique on page 40.
This technique evolved from a basic crackle ef-
fect achieved by applying tempera paints on poly-
mer clay. I wanted to give the crackle a predictable
and repeatable texture and started experimenting. I
found by impressing a texture on the clay before
applying a layer of paint, the patterned stayed and
could be duplicated, again, and again.
1
2
3
4
Patterned polymer clay.
BY HELEN BREIL
LJMS-060067-patshe 9/25/06 10:14 AM Page 44
LJMS-060067-044.pgs 09.25.2006 12:33
Pasta machine
1 fracture patterned sheet
Polymer clay: 1 color for
center circle; 1 contrasting
color for border and back
of pendant I chose
black for both
Flecto
Varathane
Dia-
mond Wood Finish Inte-
rior, or Liquid Kato
Clay
Texture sheets
Small, soft paint brush
Cheese cloth
1", 1
1
4" and 1
1
2" circle
cutters
2 squares of tin, 3" x 3"
(cut from an aluminum pie
plate)
Plastic wrap
Armor-All
400-, 600- and 800-grit

WetDry sandpaper
Small hand drill with
1
16"
bit
2mm buna cord in desired
length
Decorative button or other
embellishment
2 rod magnets,
1
8"
2 metal tube beads, a min-
imum of
3
8" long with a
1
8"
diameter opening (for mag-
netic clasp).
O-rings (optional)
Cyanoacrylate (super) glue
Tissue blade
Scissors
Toaster oven (for nonfood
use only)
Parchment paper
Square piece of smooth
glass or ceramic tile
What you need
Skill level
P
h
o
t
o

o
f

f
i
n
i
s
h
e
d

p
i
e
c
e

b
y

F
r
a
n
k

D
e
S
a
n
t
i
s
;
a
l
l

o
t
h
e
r

p
h
o
t
o
s

c
o
u
r
t
e
s
y

o
f

t
h
e

a
u
t
h
o
r
.
1. The pendant back a simple textured circle
providing a finished back to the pendant.
2. The ring a concave form for the focal circle
to rest on and a border to set off the focal piece.
3. The center fracture patterned circle adding
drama and interest to the pendant.
4. Adecorative button the final touch.
For an in-depth look at the Fracture Patterning
technique, including tips and suggestions for specific ma-
terials I have found useful, see page 40.
When tempera paint is applied to
polymer clay, then passed through a
pasta machine, it becomes fractured
into a pattern. The focal piece of my pen-
dant was created using this technique. In-
structions for the fracture patterned sheet
used in this pendant are on page 44.
Once you wear your fracture patterned
pendant, I guarantee youll have friends and
family asking What is that made of? and
How did you do that?!
There are four basic components to this pendant:
1 2 3 4
patterned polymer
pendant
Tempera paint crackle effect
for polymer clay.
BY HELEN BREIL
S
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LJMS-060067-patpen 9/25/06 10:18 AM Page 45
LJMS-060067-045.pgs 09.25.2006 12:35
Creating the pendant back.
Condition the clay you have chosen for your pen-
dant back (I used black). Conditioning makes the
clay workable and ensures strength after baking. To
condition the clay, cut the block into sheets 23mm
thick. Feed one sheet through the pasta machine
then fold the sheet in half. Place the folded sheet,
fold first, through the pasta machine again. By plac-
ing the sheet fold first, youre helping squeeze out
any trapped air and reducing the risk of air bubbles
getting into your sheet something you dont
want. Repeat this 1520 times for each sheet. Roll
all the conditioned clay sheets together then roll
through the #3 setting (third largest setting) on
your pasta machine.
Roll the clay through the pasta machine again
with a piece of textured, flexible material. I used a
piece of wire form mesh, but any relatively shallow
texture works well.
Cut two 3" x 3" squares from the aluminum pie
plates. These squares will keep the clay grounded
and help prevent it from lifting off your work surface
when using the cutters.
Place the textured sheet on your aluminum
square. Cover the clay with plastic wrap. The plastic
wrap will help create a soft, beveled edge when you
cut through it with the cutter.
Using a 1
1
2" circle cutter, cut a circle out of the
clay, working through the plastic wrap. Remove the
excess clay from around the circle. Leave the circle
on the aluminum sheet for baking, this will help
avoid distorting the shape. Dont worry about any
rough edges, theyll be sanded away later.
Creating the ring and weight.
Roll out the remaining clay on the #1 setting of
your pasta machine. Place this sheet on the other
piece of aluminum.
Cover the clay with plastic wrap and cut out a cir-
cle using your 1
1
2" diameter circle cutter. Be sure
not to touch the clay through this process, you might
add fingerprints which would then need to be sanded
off later and the less sanding the better. Remove
the plastic wrap and excess clay around the circle.
Center a 1" circle cutter on the circle youve just
created (no plastic wrap). Spin the aluminum
sheet around to make sure the cutter is centered
and then make the cut. Using a blade or needlepoint
tool, carefully remove the clay inside the ring, leaving the
ring itself on the aluminum.
Decide if you want single or double cording. Lift the alu-
minum sheet to eye level. Using a small drill bit or needle-
point tool, make a small mark on the bottom outer edge of
the circle where you want your cording to go. Ive got my two
top cording marks 1" apart. The distance between the top
and bottom marks is
1
2". You will be drilling these cording
holes later, after baking.
Later, to help create the concave form of the centerpiece,
youll need a weight. If you have a marble, you could use
that otherwise, create a 1" diameter (approximately) ball
from a bunch of scrap clay and roll it smooth.
Bake the ring, pendant back, and weight in the toaster oven
for approximately 35 minutes, using the clay manufacturers
recommended temperature. While still hot but toward the
end of the baking time, remove the weight. Place a piece of
parchment paper, then a piece of smooth glass (or tile)
square on top of the pendant back. Place a separate piece of
parchment paper and glass (or tile) square on top of the ring.
This will ensure all the pieces are perfectly flat when cooled.
Drilling the cording holes.
Once your pieces have cooled, place the ring flat on your
work surface. Using your hand drill, line up the
1
16" drill bit,
keeping it flat on your work surface. Drill approximately
1
8"
deep into your ring, creating an opening on the back. The
1
16"
drill bit is the perfect size for a 2mmbuna cord. (The picture
shows the ring after baking and sanding in order to show the
cording holes.) The pendant back will cover this opening and
secure the cording when its assembled later on.
1
2
3
4
5
6
7
8
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LJMS-060067-046.pgs 09.25.2006 12:36
Sanding the ring.
Ive found that if the surface is unblemished and without
fingerprints, I can start sanding Kato
clay at 600-grit
(sometimes 800). With other clays, or if you have any imper-
fections on the surface, youll need to start at a lower grit.
Sand the rough edges, the top portion of the ring that will be
visible, and the edges of the pendant backing smooth. Buff
both pieces with a cloth to bring out a nice sheen. Wet a soft
cloth with Armor-All
and wipe it onto both pieces to bring

out a rich or sheen on the surface.
Creating a textured backing.
The fracture-patterned sheet is backed with a contrasting
piece of clay that will show in the split between the two
halves (to be cut in Step 13). Choose the color clay youd
like to use to back your patterned piece and the texture
youd like to add (I used black clay with a ribbon texture).
Roll the clay out at the #4 setting on your pasta machine.
Place a flexible textured material on the surface of the clay
and roll it through the pasta machine again. Place your tex-
tured backing sheet onto a piece of aluminum and cover it
with plastic wrap. Cut through the plastic wrap using a 1
1
4"
cutter. Set the aluminum sheet aside while the patterned
piece is being cut.
Cutting the patterned sheet.
Cutting the patterned sheet is done in two stages and in-
volves two different size circle cutters. You might want to
use some scrap clay to practice centering the split between
the circle halves before you do it on your patterned sheet.
For the first and larger cut, put the patterned piece on an
aluminumsheet, then cut it using a 1
1
2" cutter (no plastic
wrap). Determine the center point (as best you can) then cut
the circle in half with a tissue blade. Carefully slide your blade
underneath the halves, lifting themoff of the aluminumsheet.
Get the textured backing piece you made in Step 12 (still on
the aluminumsheet), and center the two patterned halves
onto the backing, leaving approximately a
1
8" gap between
the halves (or whatever amount you find pleasing). Gently
press the two layers together. Put plastic wrap over the clay,
center your 1
1
4" cutter, and make the final cut. You should
have a nice
beveled edge,
with the top layer
wrapping over
the bottomlayer.
There are two
benefits for lay-
ering the two
sheets together
and then cutting
themin two stages. The first is, the top patterned
piece neatly hides the black backing sheet all around
the edges; the second, its easier to center the split
between the 2 patterned halves.
Position and bake the pendant.
Carefully slide your blade underneath the two-lay-
ered centerpiece and lift it from the aluminum
sheet. Smooth down any rough edges. Stack the
pendant back, texture side down, with the ring on
top. These will be glued together later.
Center the patterned circle on the ring. Gently pat
down the edges (so they sit neatly down on the ring),
while keeping your thumb pressed gently down in the
center, creating a concave form. Use the round
weight you made in Step 9, or place a marble gently
in the center
to keep the
concave form.
Bake in the
toaster oven
for approxi-
mately 35
minutes. Let
the pendant
cool slowly in
the oven then
remove.
Using your tissue blade, carefully separate the
tempera patterned circle from the ring.
Protecting the surface.
Its important to protect the tempera paint be-
cause its water-based and will wash or flake off if
unprotected. There are two methods and either
works well, depending on the finish you desire.
High-gloss: For a high-gloss, no-bake finish, you
can use Varathane
. This method requires several

coats that will harden, no baking required. Using
your finger, apply a layer of Varathane
to the 2 cir-
cle halves, carefully avoiding the background tex-
tured strip. Use a light touch tempera paint can
11
12
13
14
15
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LJMS-060067-047.pgs 09.25.2006 12:37
dissolve from the Varathane
. This is only an issue

for the first coat. Let dry at least 2 hours before put-
ting on more coats.
For subsequent coats, apply the Varathane
with
a lightly dampened piece of cheesecloth and concen-
trate on getting as smooth a finish as possible. Put
on a minimum of two coats (and up to four coats),
depending on how thick the coats are and what you
find pleasing. For this project, I liked the light shim-
mering effect I got when using only two coats.
Matte Finish: For a matte finish, you can use Liq-
uid Kato Clay
, which requires only one coat, but

your piece must be baked again for approximately
15 minutes. The reason I recommend Liquid Kato
Clay
over other brands is because of its trans-

parency and ability to self-level.
Using a small brush (or your fingers), apply a very
thin layer of Liquid Kato Clay
over the surface of

your pieces. Reassemble your pendant and bake it
in the toaster oven for approximately 15 minutes.
Let cool.
Normally, I would apply a very thin layer of Liquid
Kato Clay
over the surface with a small brush (or

my fingers) before the initial baking, but because of
the weighted piece used in Step 14, this requires a
different application.
Assembling the pendant from the bottom up.
Use super glue to secure the pendant back and
ring together. Be careful not to let the glue squish
out from the edges, and avoid getting glue into the
cording holes. Place the patterned circle on top
be sure to line up the circle split carefully between
your cording holes. Glue the bottom part of the pat-
terned circle so it touches the pendant back at the
point indicated by the arrow.
Decorative element.
I have chosen a button with the back loop cut off (I
used a Dremel
tool to remove it) as the top-most

decorative element. Glue your chosen itemin place,
or put a little bit of polymer clay in the center of your
circle. Em-
bed your dec-
orative itemto
secure it, then
bake for 20 minutes at
the manufacturers recom-
mended temperature. You might want to super glue the deco-
rative itemin place after baking, just to be sure its secure.
Cording.
To make a double-corded necklace, cut four pieces of
buna cord. If youre making a single cord necklace, cut
two pieces. Make sure to cut the cords longer than you think
youll want, youll be able to trim them later. And its better
to have a little too much, than a little too little. Super glue
the cord(s) into the cording holes. Be careful not to have the
glue squish out of the holes onto the ring.
Once dry, try the pendant on to decide what length youd
like. Lay the necklace flat and measure carefully before you
make your final cut. If youre using double cording, the top
cord (the one closer to your neck) needs to be cut shorter
than the bottomone. By playing with different lengths, you
can decide how much slack or tightness you want between
the top and bottomcord. I used some large O-rings to secure
the cords together as I determined what lengths I wanted.
Magnetic clasps.
Ive developed my own method of creating a magnetic
clasp, using a couple of metal tube beads. I love the con-
venience of a magnetic clasp. Although the
1
8" rod magnets
are very small, theyre powerful enough to
hold lightweight polymer clay jewelry.
Ive even used them for heav-
ier, sterling silver jewelry.
The beads should be
a minimum of
3
8"
long, with a
1
8" diame-
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20
21
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LJMS-060067-048.pgs 09.25.2006 12:41
ter opening. If using double cording, its a tight fit into beads
of this size but it does work.
Fill the tube opening with black clay. Push a
1
8" rod mag-
net into one end of each bead and bake in the toaster oven
for approximately 30 minutes. After cooling, the magnets will
need to be glued into place to ensure theyre secure. Use a
more powerful magnet to pull them out of the bead ends.
Scratch the sides of the magnets to create a better bonding
surface then super glue them back into place. On the other
end of each tube, drill a hole into the clay to accommodate
the cord(s).
Optional: The O-rings are optional; use the appropriate
size O-ring depending on whether youre using single or
double cording. Slide the O-rings onto the buna cord, glue
the cord(s) into the tube bead, and then slide the O-ring
flush against the bead.
Here you see the finished clasp, the rod magnet alone, and
a side view of the magnet embedded in the metal tube bead.
Your necklace is complete, enjoy! G
Resources:
0-rings (optional) available at http://www.shadesofclay.com
1
8" rod magnets (Rare Earth Brand) available at Lee Valley
Tools, product 99K38.00, http://www.leevalley.com
Helen Breil
is a mixed media jewelry artist, founding member
of the Southern Ontario Polymer Clay Guild and a
member of the Canadian national online
Clayamies group. She is a contributing writer to
PolymerCAF magazine and has been creating
jewelry and fine craft items for approximately 8
years. You can contact her by e-mail at
hbreil@sympatico.ca.
22
EACH QUARTERLY
ISSUE FEATURES:
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LJMS-060067-patpen 10/4/06 2:37 PM Page 49
LJMS-060067-049.pgs 10.04.2006 14:52
Rio Oro-
River of Gold
Pendant
Metal clay and Aura22
BY LORRENE J. DAVIS
Ah, clay! I started playing with mud at an early
age and later my mother taught me how to work
with ceramic clays for a Girl Scout badge. It is nat-
ural, then, that metal and polymer clays were the
mediums in which my art passion lay. The metal
clays enable me to utilize the lovely luster of the
metals, their malleability allows me to create any
shape I dream, and the purity of the material
brings joy to my process of creation. I live and
work in the Mother Lode area of California, and so
it is no wonder that I would want to design a proj-
ect that reflected the history of our area. In 1848,
gold was discovered in our foothills when James
Marshall spotted it in the American River.
This project is perfect for trying out the new 22-
karat gold paste, called Aura22
, on pure silver
metal clay. It is offered for sale through the vendors
who market PMC
.
I have included several clay-working bench
tricks in this article. They help with the processes of
design, template construction, firing and finishing
of the clay. Use these techniques and tricks as a
springboard to developing your own creativity.
Studio prep.
I use the light bulbs in this project for forming per-
fectly matched convexed sides of the pendant. With
the polymer clay, well make a stand for any light
bulb. I call it a bulb-formature.
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2 small pointed paint-
brushes
2 flat medium paint-
brushes
Pallet knife/small spatula
2 grades of fine sand-
paper
Needle files small fine
toothed round & flat
Clay burnishers
Clay roller (PVC pipe
works)
Balm or oil for hands &
tools
Small water spritzer (fine
mist)
X-Acto
knife
Sharpie
black fine
point
Design
Plastic playing cards
Hair dryer, food dehydrator
or food warming tray
2 complimentary texture
plates of your choice.
Stencil making plastic or
clear sheet dividers
Double-stick cellophane
tape
Twig of dead wood with an
average thickness of
44.5mm (
3
16") thick and
extends 1cm (
3
8") wider
on each side of pendant
body.
Toothpick: wood or plastic
Pin vise with 1mm drill bit
Two 60-watt standard light
bulbs
Polymer clay scrap (soft)
Small self-healing cutting
board
2030 grams of Art Clay
650
Syringe silver clay

Container of silver clay
paste
PMC
Aura22
gold
paste
Soft fiber blanket (avail-
able at www.artclayworld.
com)
What you need
Skill level
P
h
o
t
o

o
f

f
i
n
i
s
h
e
d

p
i
e
c
e

b
y

F
r
a
n
k

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e
S
a
n
t
i
s
;
a
l
l

o
t
h
e
r

p
h
o
t
o
s

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t
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u
t
h
o
r
.
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LJMS-060067-050.pgs 09.25.2006 12:37
Roll a piece of scrap polymer clay into a loaf that is ap-
proximately 7" long, 1" thick and 1.5" wide. Figure where
the bulb bases will penetrate the clay, poke a hole through
the polymer with a pencil, and then widen it a bit with your
finger. Screw the bulbs into place and add a snake of scrap
clay around the top of the bulb bases if necessary. Carefully
unscrew the bulbs and bake the clay at the recommended
temperature for the polymer. After the base is cool, simply
screw the bulbs back into the clay. I recommend all metal
clay/polymer studios to have various sized and shaped bulbs
handy. Just screw them into the bulb-formature and theyre
ready for use.
Design.
Creating a pattern for the artwork will save time, help pre-
vent excess dry clay and help the construction of a jewelry
piece that is carefully thought out. I never erase a sketch
when designing jewelry because I never know when I might
want to use an element of a previous design in a new work.
In my sketchbook, I leave room next to the drawing for a pho-
to of the final piece, weights of the clay, kinds of stones
used, prices of all the elements including chains and set-
tings. When the work is finished, I will include these price
computations, my own inventory number, design name, and
when and where it was sold. I call it my Design Diary.
Youll make two templates two sheets thick. Use the dou-
ble-stick tape to hold the sheets together. Make these
templates
1
2" larger than the base of the pendant. For the
back template, place the template material over the Rio Oro
pattern.
With the Sharpie
, trace just the outline of the

pendant base. Use the X-Acto
knife to cut out the

inside of the drawing. For a clear visualization, leave
the lines in when cutting out the pendant templates.
For the front template, draw the river on the
template material. Before you cut, mark on the tem-
plate the areas you will cut out. See photo #1. In
this step, you will cut out the front pendant piece
leaving the river in.
Construction.
When the twig piece is fired, the wood will burn out
and leave a wonderful silver bail for a neck chain to
pass through.
Use a soft brass brush on the twig to remove any
loose bark or dirt. Using the pin vise, drill
1
8" into one
end of the twig. Insert the toothpick so it sticks solidly
inside. This is a handle to hold the twig while painting
each coat of silver paste. Or, if the twig is long enough,
mark where the paste is to be applied and hold the un-
used end as a handle. A very old piece of deadwood
manzanita was used for this project. It is very important
that the wood is dead and dry. Any moisture may cause
some splitting of the clay during firing.
Use a thinned down silver paste. It should be thicker
than gravy. Instead of thinning out a whole jar of sil-
ver paste, use a spritzer and thin the top layer of the
paste while working. The thinner paste enables you
to maintain the interesting textures and bumps of
the wood.
Dry between each layer with the hair dryer (ap-
proximately thirty seconds). Paint twelve to fifteen
layers. When finished, dry it thoroughly on the hot
plate or on the workspace overnight. Pull out the
toothpick; file the ends smooth and clean up the
twig if necessary. The multiple layers are neces-
sary to build up a strong twig bail. Chains have a
tendency to wear them out especially on heavy
pendants. When in doubt, paste another layer.
1
2
3
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LJMS-060067-051.pgs 09.25.2006 12:38
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Use the balm to coat your hands, the texture plate,
roller, and cutting board. This will prevent the silver
clay from sticking to those surfaces. Using about half
of the lump clay, roll it into a ball and flatten it into a
circle with your fingers. Put it on the cutting board and
flatten it, with the roller, into an even circle using the
four-card spacers as a guide to thickness.
Put the back pendant template over the clay to
test for the approximate shape. When the shape is
attained, put the template back over the clay, put
the three-card spacers on each side, and put your
choice of texture plate on top of the clay, stencil and
cards.
Carefully press the texture into the clay with the
roller. Remove the texture plate and put it and the
card spacers aside. Using the sharp X-Acto
knife,
follow the inside edges of the template and cut out
the pattern. Lift up an edge of the template using
the pallet knife. Then, using your fingers, place the
clay on the top center of one of the light bulbs. Gen-
tly pat it onto the bulb surface. This will give a uni-
form shape to both halves of the pendant base.
Repeat the process for the back, except reverse
the template. This enables both halves to match
when the project is completed. Use the texture plate
youve chosen for the front. Important: After the
front template is removed from the clay, gently place
the back stencil (reversed) over the front clay just to
make sure the shapes match. The front and back of
the pendant will have matching top shapes when they are
assembled. Cut out this piece the same as the back.
Carefully put the front piece on top of the second light
bulb and gently pat onto the bulbs surface shape. Using
the syringe, put a couple of rocks at the widest part of the
river and trace along both the shorelines with a line of clay.
Use a damp paintbrush to blend the shoreline into the dirt.
Let both halves dry on the bulb. When the clay is leather
hard, lift it off the bulb and let it dry, upside down, overnight,
or on a warming tray.
Finishing.
The rounded edges and top portions are high polish areas.
After the clay is dry, clean up all the rough areas on the
pendant using the files and/or sandpapers. This will give
the piece a finished look. With the rougher sandpaper or file,
work the edges of both halves of the pendant. Bevel them on
the inside with a slight angle. Do not bevel the top area of
the pendant halves. This will be a high polish area. Use the
finer sandpaper and then lightly polish with the burnisher.
Doing this will cut down on finishing labor after the piece is
fired. Use a dry paintbrush to sweep the powdered clay away
from the work. Save all these powdered filings when working
in the dry clay state; they can be reconstituted later into a
slurry paste when mixed with water.
Important: Do not burnish the textured surfaces or the
river on the pendant.
4
5
6
7
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LJMS-060067-052.pgs 09.25.2006 12:39
Attaching the parts.
Hold both halves of base pendant, back to back, in the
non-dominant hand. Spread the top portions of the pen-
dant apart slightly while the bottom stays touching. Set the
pasted twig onto the pendant top. Adjust the pendants top
width according to the shape and size of the twig for a bal-
anced piece. Still holding the halves together, take the twig
off and put it aside. Then apply pure silver paste to the in-
side bottom touching halves of the piece.
Put it on heavy and neat, and then dry it to the white stage
with the hair dryer. Proceed to add more paste while all the
time keeping the join smooth. Wet a paintbrush and blend
this join up the inside back of each side. With the hair dryer,
dry to the white stage while still holding the piece.
Wet a paintbrush and dampen the four top outside edges
of the pendant. Add a small amount of paste to those
same points.
Lightly spritz water on the bottom side of the twig. Set it
gently on the pasted area on the top of the pendant. After
blending the paste up to the twig, use the hair dryer to set
the paste. Then, neatly add more paste while smoothing and
blending it into the shape of the work.
Use a wet paintbrush to blend the joins into the previously
burnished areas if necessary.
Take time with this process. These connections are going
to hold the parts together and will create a professionally fin-
ished pendant.
Note: it is easier to clean and finish at this stage
than to work on it after it is fired.
Put the piece onto the food warmer for at least
another hour to ensure everything is thoroughly
dry. Set the work on a fiberboard. Cut the fiber cloth,
called Soft Fiber Blanket, into strips and wrap them
underneath the raised edges of the piece. This will
help maintain the curved shape of the pendant. This
fiber offers soft support to the piece during firing. It
helps the piece to retain its shape.
Firing.
Personal noteI like to fire longer and hotter than
recommended for the PMC3
or Art Clay 650
. The
silver clay seems to sinter better and will produce
harder and tougher silver jewelry.
Fire at 1550F for thirty-five minutes. This will en-
sure a strong and durable work. The pendant may be
fired at a lower temperature and time, but be sure to
use the package firing instructions if you do so.
After the work has cooled, look over the pendant
very carefully. Are there joins that need more paste?
Did the twig split? Dont fret just go over the area
with more paste, dry and re-fire. The twig will split if
the paste wasnt applied evenly or thick enough. The
beauty of this metal clay is the ability to fire it over
and over again.
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9
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LJMS-060067-053.pgs 09.25.2006 12:38
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Adding the Aura22
.
Keep the jar of Aura22
upright so the clay paste

stays settled to the bottom of the jar. Stir the con-
tents before each use.
When the work has cooled or quenched and
dried, it is time to add the gold paste to the river.
Do designate this paintbrush for Aura22
only. This
prevents future cross contamination between metals.
Be careful not to touch the areas to be painted
hands leave oils on the silver that could inhibit a
strong bond between the gold and silver. With a fine
point brush, paint the Aura22
around the rocks and

up the riverbed. Be careful not to get the gold paste
on the top of the shoreline. Thoroughly dry the piece
between layers. The Aura22
paste has a tendency

to dry quite quickly. A hair dryer is not recommended,
but some artists use them. Paint a second and third
layer over the first being careful to stay on top of the
first layer. The river can have an unequal coloring if
the paste is not applied evenly. If you like that look,
leave it or add more Aura22
.
Dry Rio Oro thoroughly, keeping it warm on a
food warming tray or a coffee cup warmer. Fire in
the kiln at a preheated 1560F, for ten minutes. The
work can also be torch fired. Please follow the
Aura22
package directions to ensure success

every time. Do not quench after firing.
Sometimes I get inspired to make changes after
the first firing. On this piece, I chose to give the twig
extra texture. Note the color difference between the
fired base and the fresh clay on the twig. (See pho-
to 12) When dry, the new silver additions will fire
perfectly during the Aura22
firing.
Finishing.
Use a soft brass brush with soapy water on all surfaces.
Then burnish the points of interest. Next, give a high pol-
ish to all the beveled edges and the shoreline with the bur-
nisher. Give the higher texture on the front and back a light
burnish. Tumble with steel shot for a bright finish, if desired.
But note that the tumbling lowers the lovely color contrast
between the warm gold and the cool silver. Try a black pati-
na on the inside of the pendant and maybe a diluted patina
on the branch to make it look more woodsy.
Personal note I dont use the stainless steel brushes
recommended by the clay vendors for finish work. I find them
harsh and abrasive on the fine metals. Soft brass brushes
can be found in most all jewelry tool catalogs. Also, small
mandrel-handled brass brushes can be found and used with
a Dremel
or flex shaft. They are incredibly efficient tools.

An alternate to soapy water is the marvelous product, Super
Sunsheen Burnishing Compound
, available from Rio

Grande. I mention this because it is also wonderful for re-
moving tarnish and discoloration that sometimes appears af-
ter using the tumbler. It is the only soapy water I use.
Wash, dry, thread the chain through, and enjoy!!! G
The Rio Oro design, of course, is copyrighted.
Build it for your own personal use or to give away, but not for
resale.
Lorrene Davis
graduated as a jeweler from the Revere Academy
of Jewelry Arts in San Francisco. She and her hus-
band, Phil, owned and operated a gallery of jew-
elry & fine art in El Dorado Hills, CA, for 11
years. She was fortunate to take the first work-
shop on PMC
that was offered in the Western

United States in 1996 and has taught introductory
classes in it since 1997. She has attained level II artisan certification
from PMC
Connections and is a senior instructor with Art Clay

World. She loves teaching the benefits of all the clay products in-
cluding the polymers. Her workshops are held at U Bead It, in
Sacramento, California, and in her home studio. This award-
winning artist resides in Placerville, California, with her husband
and two cats. Contact her at: www.ubeaditsacramento.com or art
jewelry@sbcglobal.net, 530-391-1969.
12
13
14
15
LJMS-060067-rio 9/25/06 10:25 AM Page 54
LJMS-060067-054.pgs 09.25.2006 12:39
metal clays
the complete guide to
ORIGINAL PMC
This is the original metal clay formulation. Soft and pli-

able, it's easy to work and has the most claylike feel of the
Mitsubishi products. Although it can shrink up to 30% dur-
ing firing, many artists find this can be an advantage, since
fine details can be created at a larger, easier-to-work size.
Original PMC
is fired by holding it at 1650F for two

hours. Because of original PMC
's relatively lengthy firing

time, and low tolerance to variations in temperature, a digital-
ly controlled electric kiln is typically recommended for firing.
PMC+
Developed by Mitsubishi after the introduction of Art

Clay
, PMC+
is designed to offer lower shrinkage, a faster,

lower-temperature firing sequence, and a denser final prod-
uct. PMC+
can be fired at 1650F with a hold time of 10

minutes; 1560F for 20 minutes; or 1470F for 30 minutes.
The existence of several firing options means PMC+

can be
fired either in an electric kiln or with a jeweler's torch. It is
worth noting, though, that PMC+
has a little less water in-

corporated into the raw clay, and dries out a bit faster than
original PMC
.
PMC3
PMC3
offers the lowest shrinkage and fastest firing

times of the PMC
family. PMC3
can be fired at 1110F for

30 minutes; 1200F for 20 minutes; or 1290F for 10 minutes.
This fast, low-temperature firing makes PMC3
the best
choice for torch firing, and it can even be fired in small, in-
expensive gel-fueled mini kilns.
The lower firing temperature also makes PMC3
a good
choice for firing with stones and glass in place, since the
lower firing temperature increases the variety of stones that
can survive the firing process. The greater density of the fin-
ished product also makes this version more suitable for
high-wear applications, such as rings.
Because it contains the smallest amount of binder and
water of any PMC
product, PMC3
also dries out fastest,

and some artists find it's less pliable and a little harder to
work than original PMC
.
EVERYTHI NG YOU NEED
TO GET STARTED WI TH
THESE REVOLUTI ONARY
NEW PRODUCTS.
BY SUZANNE WADE
m
etal clay is a great introduction to incor-
porating precious metal into your jewelry
work. Unlike traditional silver- and gold-
smithing, metal clay requires a minimum amount of
tools and equipment to get started, and the final
product is pure precious metal. Artists working with
ceramics or polymer clay are often attracted to the
medium because of its familiar properties, while jew-
elers find that metal clay allows them to work in met-
al in a totally new and exciting way.
Metal clay isn't a "true" clay: it's a man-made sub-
stance that the manufacturers called "clay" for its
working properties, not its relationship to pottery. As
Tim McCreight, author of The Complete Metalsmith
and a consultant for Mitsubishi, notes a more accu-
rate name might be, Precious Metal Pliable Mold-
able Substance, but that's a mouthful! Metal clay
consists of extremely fine, precious metal powder,
suspended in an organic binder. When heated to a
high temperature, the binder burns off and the metal
powder sinters together, leaving behind a solid piece
of pure silver or gold.
There are two brands of metal clay currently avail-
able in the United States: Precious Metal Clay (PMC
)
produced by Mitsubishi Materials Corp., and Art
Clay
, sold by Aida Chemical Industries, both head-

quartered in Japan. Both brands work in basically the
same way, although small differences in the binder
formulas produce slightly different working charac-
teristics. These differences lead some artists to prefer
one brand or another, but which brand you choose is
largely a matter of personal preference.
The first metal clay marketed in the United States
was Mitsubishi's original Precious Metal Clay, fol-
lowed shortly afterward by Art Clay
. Both compa-
nies have since introduced several versions of their
product to meet different needs. Below is a quick
primer on the different clays available, and when you
might choose one over another.
LJMS-060067-basics 9/25/06 10:29 AM Page 55
LJMS-060067-055.pgs 09.25.2006 12:26
metal clays
ART CLAY
SILVER
The first metal clay product introduced by Aida Chem-
ical Industries, the original formulation of Art Clay
of-
fers 8-10% shrinkage and a firing temperature of 1472F
for 30 minutes or 1600F for 10 minutes. Its low shrinkage
rate makes it highly appealing to artists who find the rela-
tively high shrinkage rates of PMC
and PMC+
frustrat-
ing. The lower firing temperature and times also means
that all forms of Art Clay
(except overlay paste, due to

the limitations of the materials it is fired with) can be fired
with a simple butane torch, as well as with an electric kiln.
ART CLAY
SILVER 650/LOW FIRE

Art Clay
650 shrinks the least of any of the metal clays

currently on the market, at just 8-9%. It also boasts a range
of firing temperatures and times, including a fast fire at
1435-1600F with a hold time of just five minutes, down to
a firing temperature of 1200F with a hold time of 30 min-
utes. The manufacturer claims that this lower temperature
permits firing on a gas cooking stove, as well as with a gas
torch or an electric kiln. The low firing temperature and
short firing times also make this an excellent choice for fir-
ing stones or findings in place.
ART CLAY
SILVER SLOW DRY

Because water is a major component of all metal clays,
the clay will dry out and become crumbly fairly quickly,
limiting the working time. In response, Aida Industries in-
troduced Art Clay
Silver Slow Dry. This moister formula

is designed to give the artist five times as much working
time in the clay's pliable state, permitting such time-con-
suming activities as braiding and weaving.
Because the clay dries so slowly, however, the manufac-
turer recommends unfired clay pieces be no more than 3mm
thick, or designed in layers, such as flower petals. Addition-
al time should also be allowed for drying, prior to firing.
ART CLAY
SILVER OIL PASTE

This silver paste is designed to join fired silver clay ele-
ments, to fix cracks, and act as a substitute for soldering. It
fires at 1470F for 30 minutes or 1560F for 10 minutes. It
works only on silver metal clay, however, not gold.
ART CLAY
SILVER OVERLAY PASTE

Overlay paste is best used on the surface of ceramic,
porcelain, and glass. The paste is usually thinned with
water and then painted onto the surface, and the entire
piece fired by slowing ramping up the temperature to
1200F and above, and allowing the piece to cool slowly
before opening the kiln. Because a steady rate of heating
and cooling is necessary to prevent the porcelain or glass
from breaking or cracking, an electric kiln must be used to
fire overlay paste.
GOLD METAL CLAY
Both PMC
and Art Clay
also offer a gold version, as

well as the more familiar silver version. Gold PMC
is
24K gold after firing, while Art Clay
Gold is 22K gold

(91.7% gold, 8.3% silver). Either metal clay can also be
mixed with the manufacturer's silver clay to create other
karats of gold, such as 18K green gold.
Because gold metal clays are relatively expensive, a
popular method of working with gold is to mix the clay
with water to form a thin paste, often called "slip." Several
coats of slip can be painted on unfired silver metal clay to
form a surface layer of gold. This method is ideal for
adding gold accents to silver metal clay pieces.
FORMS OF CLAY
Most of these metal clay products are available in sev-
eral forms. LUMP CLAY is the standard chunk of clay,
which can be rolled, shaped, and even thrown on a pot-
ter's wheel.
Beads by Georgia Ann Waller.
Photo by Jim Work.
Photo by Robert Diamante. Courtesy of the PMC Guild.
LJMS-060067-056.pgs 09.25.2006 12:27
SYRINGE CLAY is a more liquid formulation de-
signed for use with a narrow tip: it's typically used for
"drawing" designs on an unfired metal clay piece, like
decorating a cake. PASTE is thicker than syringe formula-
tions, and can be used to fill cracks and joints, join parts,
and "frost" the surfaces of organic models for a reproduc-
tion of organic forms in silver. METAL CLAY PAPER is a
thin sheet that can be folded like paper for origami, creat-
ing a draped look, or other folding techniques.
HOMEMADE SLIP, made by crumbling leftover dry
metal clay into water, can be used like a glue, to join togeth-
er pieces of unfired metal clay. It can also be used like paste,
by painting several layers over delicate organic forms. The
piece is allowed to dry, and the organic item burns out in
the kiln, leaving behind pure silver (or gold) reproductions.
Mitsubishi and Aida have also experimented with ver-
sions of metal clay in 18K white and red gold and plat-
inum, but these are not commercially available in the
United States. All require a kiln with an inert atmosphere
for firing, limiting their potential market.
BASIC TOOLS
Plastic tube to use as a roller, toothpicks, a paintbrush,
straws (to shape beads around), a knife, and a ruler (with
millimeter measurements).
FOR FINISHING:
Sandpaper, files, burnishers, and buffs can all be used
to give the piece a mirror polish.
LJMS-060067-057.pgs 09.25.2006 12:26
metal clays
KILN OR TORCH
An electric kiln is essential for working in original
PMC
, because it must be held at 1650F for two full

hours in order to completely fuse. A kiln is optional for
most other versions of Art Clay
and PMC
, howev-
er, since either a jeweler's torch or a butane torch
purchased in a hardware store will reach a high
enough temperature to fire the later versions of
metal clay.
Digitally controlled programmable kilns are the
ideal choice for firing metal clay, since they assure
complete firing every time, and also help reduce ther-
mal shock, which can break or crack glass, or stones in-
corporated into your work. Several companies, including
Sierra and Paragon, make kilns designed specifically for use
with metal clay. These kilns can also be used for working
with enamels and dichroic glass.
Ceramics kilns, although they reach high enough tem-
peratures for firing, are normally unsuitable for firing met-
al clay because there can be variances of as much as 100F
inside the chamber. These variances mean that even though
the temperature controller might read 1650F within the
kiln, there may be spots where the temperature is 1750F, a
temperature hot enough to melt the silver.
Other kiln options include casting burnout ovens, anneal-
ing kilns sold for glasswork, and inexpensive, unregulated
kilns such as the Ultralite or Hot Pot. These latter two are suit-
able primarily for low-fire metal clays, since they do not attain
a sufficiently high temperatures for firing original PMC
.
In addition, torch firing is a viable option for most types
of metal clay. Virtually any torch adequate for jewelry work
will serve to fire metal clay, including a butane torch avail-
able at a hardware store. To torch fire, set the work on a sol-
dering block, in a dimly lit space, and heat until it glows
red. Hold at this temperature for the time recommended by
the metal clay manufacturer.
TUMBLER
Because fired metal clay is more porous than other forms
of fine silver, many artists prefer to tumble their finished
pieces with steel shot. Tumbling with steel shot burnishes
the surface and leaves a high polish, as well as preparing
the piece for additional work, such as soldering. Any type
of tumbler capable of tumbling with steel shot can be used,
including tumblers made for rock tumbling.
OLIVE OIL
Unfired metal clay is slightly sticky. To prevent the clay
from sticking to your hands or work surface, rub them with
a few drops of olive oil. Some artists find an olive oil-based
hand lotion, such as Badger Balm
, equally effective and

less messy.
THICKNESS MEASURING TOOL
You will often find references from PMC
users to work
that measures one card, two cards, or three cards thick. This
measurement refers to the thickness of standard, plastic-
coated playing cards. A piece of clay rolled to "three cards
thick" is the thickness of three playing cards stacked togeth-
er. Art Clay
also offers a plastic tool specifically for mea-

suring thickness. Other artists have successfully used such
items as photo matting to achieve uniform thicknesses.
TEXTURING AND SHAPING TOOLS
One of the primary appeals of metal clay is its ability to
take textures. Texturing metal clay before it is dried or fired
is as simple as pressing an item with an interesting texture
into the clay. RTV molding compounds such as Mega-Sil
Grande Fleur de Lis Necklace
by Shahasp Valentine.
Photo by Hap Sakwa.
LJMS-060067-058.pgs 09.25.2006 12:28
or Belicold
can also be used either to create push-molds

of a successful metal clay piece, or of an attractive texture
that you might otherwise have difficulty bringing into the
workshop, such as bark from a living tree or the floor pat-
tern on a construction vehicle. Your imagination is the
only limit for possible texturing tools.
TIPS FOR BEGINNERS
Remember to take out only a small amount of clay at
a time, since most metal clays will dry out quickly
and become difficult to work. One exception is metal
clay paper, which contains little to no water, and will
maintain its workability for long periods of time.
If your clay does dry out, it can usually be rehydrat-
ed by kneading water into the dry clay, and then set-
ting the clay aside to allow the water to penetrate.
However, it can be difficult to get dried clay back to
its original condition.
Be sure to dry your piece completely before firing.
Excess water can cause cracking, or other problems,
if the temperature rises too quickly before the water
has had a chance to escape. You can use a hair dryer,
hot plate, food dehydrator, toaster oven, or 300F
kiln to dry your pieces, or simply leave them in a dry
spot overnight.
Dried but unfired pieces can be worked further, with
chisels and other carving tools, and finished using
sandpaper and files. The more work you do in this
greenware (or leather hard) state, the less you'll have
to do on the finished piece.
Weakness or brittleness in a finished piece is often a
symptom of under firing. Be certain that your clay
pieces are being held at the recommended tempera-
ture for the full hold time.
Just-fired pieces will be white and matte, due to the
crystallization of the silver. A bright finish can be
achieved through tumbling, burnishing, or other
standard jewelry polishing methods.
Fired metal clay can be soldered, but it's slightly
more porous than other forms of fine silver. For best
results, burnish the piece prior to soldering, and use
slightly more solder than you normally would.
See our Web Clay Resources on page 62.
Suzanne Wade
is a freelance writer and editor who has been
writing about gems and jewelry for more than a
decade. She is currently the editor of Studio
PMC
, the member magazine of the PMC
Guild.
Brooch by CeCe Wire.
Photo courtesy of the artist.
LJMS-060067-059.pgs 10.05.2006 09:20
WORK SURFACE
For your work surface, you can use a sheet of Plexiglas
cut to the size you require, a piece of marble, ceramic tile, or

any smooth, solid surface that is handy.
CUTTING TOOLS
For cutting, you can use craft knives or wallpaper scraper
blades, but for best results, try the thin tissue blades that are
made especially for use with polymer clay.
ROLLING TOOLS
For rolling out the clay, you can use a rolling pin, a bray-
er made of Plexiglas
, an acrylic rod, a heavy drinking glass,

vase, or jar.
A pasta machine can also be used to roll out the clay.
When I first started out I didnt use a pasta machine, but
now I couldnt live without it. Using a pasta machine en-
ables you to create sheets of clay in different thicknesses and
its also a valuable tool for conditioning clay and mixing col-
ors (more on conditioning in a minute).
p
olymer clay is a colorful, versatile, manu-
factured product suitable for making
unique jewelry, wearable art, and decora-
tive items by people of all ages and skill levels.
There are many different brands of clay on the
market, each offering different qualities. To find
a brand of polymer clay that works best for
you and the project youre working on, its to
your advantage to try them all. Experi-
ment with small packages of clay to dis-
cover which is easiest to work with
and gives you the results youre
looking for in color, durability,
and surface finishes. You may
find that you like different
clays for different pro-
jects or techniques.
All of the brands
are excellent so
the choice is
yours.
As you be-
come more in-
volved in this
medium, youll
see how every-
day household
items make use-
ful polymer clay
tools. However,
once youve used
something for clay,
you cant use it for
food preparation
again but who uses
kitchen tools for cooking
these days?
polymer
clayhints
BY KATHY WEAVER
Necklaces by Kathy Weaver.
Photos of finished pieces by
Donna Chiarelli.
LJMS-060067-hints 10/3/06 2:47 PM Page 60
LJMS-060067-060.pgs 10.04.2006 09:41
Another optional tool you might find sitting idle in
your kitchen (or at a yard sale) is a food processor, which
can be wonderful for rolling and conditioning.
OVENS
To cure the clay, youll need an oven. You can use a
special kiln or oven, but most people simply dedicate a
regular toaster oven or a small convection oven to poly-
mer clay. Although the directions that come with the clay
may suggest using your home oven if you bake clay only
occasionally, its best to have a special oven dedicated to
polymer clay use, as is the case with the other tools. Be
sure to have adequate ventilation for fumes. Preheat your
oven and bake your piece(s) on card stock paper; I use old
file folders.
THERMOMETERS
Whatever oven you choose, be sure to check your oven
with a thermometer. This is very important because oven
temperature dials are often inaccurate. Most clay pieces
bake at 265F or 275F for 20 to 25 minutes, but you should
always follow the manufacturers guidelines listed on the
packaging.
CONDITIONING
All polymer clays require conditioning, even if your
clay comes soft from the package. Conditioning distrib-
utes the polymer particles and strengthens the clay. To
condition by hand, knead the clay until its soft and pli-
able. Roll the clay into a log about 12" long. Fold it back
up into a ball and roll it out again. Repeat this process
about 15 times.
Toconditionyour clayusinga pasta machine, workwith
12 ounces of clay at a time. Soften the clay in your hands,
thenplace it onyour worksurface andflattenusinga brayer
or other rolling tool. Set the pasta machine on the widest
setting. Feed the flattened clay through the rollers of your
pasta machine while turning the handle. Note: Never force
a sheet of clay that is thicker than the roller openings be-
cause this could damage the pasta machine. Fold the clay
sheet in half and feed it through the opening, folded side
first, again. Repeat 1520times.
REVIVING CLAY
If you are using stiff or old clay, try chopping the clay
into small pieces. Add a few drops of mineral oil or
Sculpey
Clay Softener and place the clay in a plastic bag

for several hours to soften. Once softened, proceed with
conditioning.
For another option, mix your stiff clay with soft, fresh
clay. Or you can chop the clay into small pieces and place
them into a food processor dedicated for polymer clay
use only, add mineral oil or Sculpey
Clay Softener to the

clay, and then process for a few minutes. The food
processor not only chops the clay up more finely, the fric-
tion also heats the clay, which aids in the softening
process. Once the clay is finely chopped, remove it from
the food processor, place it on your work surface, flatten
it with your rolling tool, and then proceed with condi-
tioning as described above.
SAFETY
Safety is always important no matter what material you
are working with and polymer clay is no exception. Polymer
clay is non-toxic, but the tools and equipment used with
the clay must be dedicated to polymer clay use only.
Be careful not to burn the clay during the curing process;
fumes emitted from burnt clay are toxic. If you do burn
your clay, air out the room, and leave immediately until
the fumes are gone. Never put polymer clay in a micro-
wave. Remember to wash your hands after using polymer
clay and do not eat while youre working with the clay.
As you advance and begin using other tools and equip-
ment, other safety issues will arise. Be sure to follow all
manufacturers guidelines. Always work smart. N
For more Polymer Clay Basics, I suggest the following
reading: New Ways with Polymer Clay and The Next Genera-
tion of Projects and Techniques by Kris Richards.
Kathy Weaver
is a jewelry designer whose main focus is in
beading and polymer clay. She is a founding
member of the Ohio Lakeshore Polymer Clay
Guild, a demonstration artist for Polyform
Products, and teaches polymer clay techniques

and beading nationally. You can contact her at
Clay57@aol.com.
61
LJMS-060067-hints 10/3/06 2:47 PM Page 61
LJMS-060067-061.pgs 10.04.2006 09:39
Polymer Clay
Amaco
, www.amaco.com
Blick Art Materials, www.dickblick.com
Boston Clayworks, http://polymerclayprojects.com/
Brickyard Ceramics & Crafts, www.brickyardceramics.com
Clay Art Web Guide, http://vickihardin.com
Clay Factory Inc., www.clayfactoryinc.com
Cool Tools, www.cooltools.us
Creative-Wholesale, www.creative-wholesale.com
Eberhard Faber, www.EberhardFaber.com
Fimozone (aka Accent Import), www.fimozone.com
Jacquard Products/Rupert Gibbon, www.jacquardproducts.com
Kemper Tools, www.kempertools.com
MisterArt.com, www.misterart.com
Polymer Clay Central, www.polymerclaycentral.com
Polymer Clay Express, www.polymerclayexpress.com
Polymer Clay Your Way, www.polymerclayyourway.com
Poly-Tools, Inc., www.poly-tools.com
Prairie Craft Company, www.prairiecraft.com
Puffinalia, www.puffinalia.com
Sculpey
, www.sculpey.com
Shades of Clay, www.shadesofclay.com
The Clay Alley, www.clayalley.com
The Clay Factory, www.clayfactoryinc.com
The Clay Station, www.theclaystation.com
The Clay Store, www.theclaystore.com
The Polymer Clay Pit, www.polymerclaypit.co.uk
The Polymer Clay Spot, www.jaedworks.com/clayspot
Van Aken
, www.Katopolyclay.com
Metal Clay:
Art Clay Nation, www.artclaynation.com
Art Clay Silver, www.art-clay.com
Art Clay Supplies.com, www.artclaysupplies.com
Art Clay World, USA, www.artclayworld.com
Bead Hub, www.beadhub.com/shopping.aspx
BeadFX, www.beadfx.com/catalogue/artclaysilver.jsp
Blick Art Materials, www.dickblick.com
Clayzee, www.clayzee.com/index.html
Fire Mountain Gems and Beads
,
www.firemountaingems.com/artclay.asp
JEC Products, Inc., www.jecproducts.com
Kitiki, www.kitiki.co.uk
MetalClay, www.metalclay.com
Metalliferous Inc., www.metalliferous.com
New Mexico Clay, www.nmclay.com
Paragon Industries, www.paragonweb.com/index.cfm
Pinzart, www.pinzart.com
PMC Connection, www.pmcconnection.com
PMC Guild, www.pmcguild.com
Rio Grande
, www.riogrande.com
Silver-Clay.com, www.silver-clay.com
Sundance, www.artglass1.com/silver-art-clay.htm
Whole Lotta Whimsy, www.wholelottawhimsy.com
web
resources
MARK YOUR CALENDAR
FOR THESE UPCOMING EVENTS!
LAPIDARY JOURNAL
BEAD EXPO
April 11-15, 2007
Oakland Convention Center
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April 20 - 22, 2007
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www.jewelryartsexpo.com
BEAD FEST MIAMI
May 4 - 6, 2007
Sheraton Miami Mart
Miami, FL
www.beadfest.com
WIRE JEWELRY FEST
July 20 - 22, 2007
Wilmington, DE
www.wirejewelryfest.com
BEAD FEST ATLANTA
Aug. 10 - 12, 2007
Georgia Intl Convention Ctr.
College Park, GA
www.beadfest.com
BEAD FEST PHILADELPHIA
Oct. 4 - 7, 2007
Reading, PA
www.beadfest.com
BEAD FEST MEMPHIS
Nov. 16 - 18, 2007
Agricenter Intl
Memphis, TN
www.beadfest.com
JEWELRY FEST
Dec. 1 - 2, 2007
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EVENTS BROUGHT TO YOU BY:
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LJMS-060067-resour 10/5/06 10:20 AM Page 62
LJMS-060067-062.pgs 10.05.2006 15:01
ARIZONA
Double Joy Beads
7131 E. Mercer Lane
Scottsdale, AZ 85254
Ph. (480) 998-4495
Mon.-Fri. 10am-5pm; Th. until 6pm;
Sat.11am-4pm. The best in semi-pre-
cious beads always unique and un-
usual. Large selection of sterling silver,
glass, vintage, seed beads. Swarovski
crystals, tools, books, supplies. Great
selection of gold and silver findings.
The Bead Museum
5754 W. Glenn Drive
Glendale, Arizona 85301
Ph. (623) 930-7395
Website: www.beadmuseumAZ.org
Mon.-Sat. 10am-5pm; Thur. until
8pm; Sun. 11am-4pm. The Bead Mu-
seum Store features a unique selec-
tion of beads from all over the
world. Also bead supplies, a large
selection of books, classes, work-
shops, museum events, permanent
and changing exhibitions. Minutes
from Phoenix.
CALIFORNIA
Full Circle Bead & Crystal
850 N Rose Dr., Suite B
Placentia, CA 92870
Ph. (714) 854-9366
Fax (714) 854-9458
Email: info@fullcirclecrystal.com
Website: www.fullcirclecrystal.com
Unique selection! Assortment of ster-
ling, gold-filled findings & wires, vin-
tage Swarovski crystals, semi-precious
stones, lampwork, glass, seed beads,
tools, books. Evening/weekend class-
es, birthday/bridal shower parties.
Accept jewelry repair. Hours: Mon. -
Fri. 10am-8pm; Sat. 10an-6pm; Sun.
11am-5pm.
COLORADO
Lunas Beads & Glass, Inc.
416 Main St. (5th & Main)
Frisco, CO 80443
Ph./Fax (970) 668-8001
Email: lunabead@colorado.net
Website: www.lunasbeads.com
Vast assortment of beads & supplies.
Delicas, seeds, triangles, cubes,
drops, bugles, lampwork, Swarovski,
Czech glass, semi-precious, Bali &
sterling silver, findings, books, tools,
hemp, wire. Friendly, knowledgeable
assistance.
CONNECTICUT
Hammered Edge LLC
Studio & Gallery
14 Main St.
PO Box 494
Chester, CT 06412
Ph. (860) 526-1654
Website: www.hammerededge.com
NEW LOCATION: A gallery setting
in the heart of Chester Village offer-
ing: jewelry, beads, buttons, repairs,
world artifacts, custom design, acces-
sories, textiles, international music,
classes, pearl knotting, new, vintage
& antique, netsuke, ojime, unusual &
one of a kind objects.
The Bead Hive
115 State St.
Guilford, CT 06437
Ph. (203) 453-6681
Email: ej52@aol.com
Website: www.beadhive.net
Exceptional, ever-changing selection
of semi-precious and glass beads, sil-
ver, findings, seed beads, delicas,
pendants, charms, pearls. Classes
and individualized lessons. Open
daily 10am-5pm; Sun. 12pm-5pm;
Th. Until 7pm. Visit our other shop
at 71 Audubon St. in New Haven.
DELAWARE
Sparkles Bead Shop &
Gallery
#2 Liberty Plaza
Newark, DE 19711
Ph. (302) 368-3944
Website: wwwsparklesbeadshop.com
Sparkling Swarovski crystals (includ-
ing vintage), fire polished and pressed
glass, lampwork and naturals, Bali sil-
ver, tools, supplies and whatnot!
Classes. Open Tues., Thurs., Sat.
10am-5pm. Wed., Fri. 10am-8pm.
Custom bridal jewelry and minor re-
pairs. Finished jewelry.
FLORIDA
Baskets By Baker
743 N. Courtney Parkway
Merritt Island, FL 32953
Ph. (321) 453-1101
Fun new full-service bead store.
Complete selection of quality beads.
Sterling silver, glass, tools, books,
Swarovski crystals, fusing and lamp-
work. Friendly staff. Classes available
for kids of all ages. Tues.-Fri 10am-
6pm; Sat. 10am-5pm; Sat. 12-5pm.
Sun. & Mon. closed.
Bead Dreams
849 Sand Lake Road
Orlando, FL 32809
Ph. (407) 251-5050
Fax (407) 251-5060g
Email: ursula@beaddreamsinc.com
Website: www.beaddreamsinc.com
Bead classes everyday! Full line of
beading supplies and books. Helpful
creative staff. Contemporary designs,
unusual beads. Mon.-Sat. 10am-8pm;
Sun. 12pm-6pm. Across from Florida
Mall. Close to attractions.
Crystal Creations
Beads Gone Wild
4058 Forest Hill Blvd.
West palm Beach, Fl 44506
Ph. (561) 649-9909
Email: Info@beadsgonewild.com
Website: www.crystalcreations-
beadinstitute.com
Go Wild in 2300 Sq. feet of Beads.
Floridas largest most complete
bead shop since 1990. Leaders in
beading education. Over 100 differ-
ent classes. Excellent monthly Guest
/Teacher workshops from national
recognized teachers. Open 7 days.
ILLINOIS
Adelias Closet
9227 Waukegan Rd.
Morton Grove, IL 60053
Ph. (847) 966-2323
Email: info@adeliascloset.com
Website: www.adeliascloset.com
FULL SERVICE bead store. Work-
tables/tools available. Large selec-
tion of Czech Glass, Laura Liska,
Swarovski, Gem Stones, findings,
watches, freshwater pearls. Classes
and parti es. LUXE CONSUL-
TANTS. Great selection & prices.
Mon., Wed.. Fri. 10am-6pm; Tues.,
Thur. 10am-8pm; Sat. 10am-5pm;
Closed Sun.
Ben Franklin
341 W. State Street
Sycamore, IL 60178
Toll Free (866) 895-3011
Website: www.bencrafts.com
Quality beads, largest color selec-
tion of Swarovski Crystals, pearls,
Bali silver, precious gemstones,
Czech. Findings in sterling & gold
filled, chain by the inch. Over 900
charms in stock. We are worth the
trip! Open Mon.-Fri. 9am-7pm; Sat.
9am-6pm; Sun. 12pm-5pm.
MAINE
The Beadin Path
15 Main St.
Freeport, ME 04032
Ph. (207) 877-92beads toll free
Website: www.beadinpath.com
One of the largest bead stores in
the country. Check out the pictures
of our newly expanded (4400 square
feet) store online at www.beadin
path.com or come and see us. Well
bring out the bead lover in you!
Open daily 10am-6pm.
MARYLAND
Accents Beads
12112 Nebel St.
Rockville, MD 20852
Ph. (301) 881-2003;
Fax (301) 881-5680
Email: accentbead@aol.com
Website: www.accentsbeads.com
5000 Sq-Ft. showroom. Known for
the unique and unusual. Greater
DCs largest selection of semi-pre-
cious beads, Swarovski Crystal, deli-
cas, seed beads, Czech glass pearls,
Bali silver, 14kt, SS/GF beads-find-
ings-chain, SS/stone clasps, PMC, 30
plus CLASSES monthly, Open Mon.-
Sat. 10am-5pm; Thurs. 6:30pm.
Bead Bungalow
105-B Annapolis Street
Annapolis, MD 21401
Ph. (410) 268-4774
Email: info@beadbungalow.com
Website: www.beadbungalow.com
Enjoy friendly service & oodles of
gemstone, glass, crystal, Bali & Thai
si l ver beads, uni que pendants,
charms & findings. All kinds of PMC
supplies, too. Classes, parties, work-
tables. Hours: Tue., Wed., Fri., Sat.
10am-5:30pm; Thur. 10am-8:30pm;
Sun 12-4pm.
K & K Gems and Beads
615 S. Frederick Ave., #300
Gaithersburg, MD 20877
Ph. (301) 330-7320
Email: kkgemsandbeads@yahoo.com
Website: www.kkgemsandbeads.com
A world of color and beauty. Beads
of all sizes and styles glisten all
around the shop.... mesmerizing
beads from Bali, Thailand, Tibet, In-
di a and Nepal . No store i n the
Washington metropolitan area of-
fers such beautiful beads for LESS.
Mon.-Sat. 10am-6pm.
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Jump on the bead wagon at your local bead shop or plan your vacation with some exciting side trips.
A visit to these fine bead shops is always worth the trip! For shop listing information, please contact
Scott Stepanski at (610) 232-5729; Fax (610) 232-5750 or email scott.stepanski@primedia.com.
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MASSACHUSETTS
BeadCache
374 N. Main St., Mansfield, MA 02048
Ph. (508) 339-3330
Toll free: 866-749-BEAD (2323)
Email: donna@beadcache.com
Website: www.beadcache.com
Full service shop with a fine, upscale
selection of beads, findings, wire &
tools. Original lampwork beads also
offered and custom orders accepted.
Classes, parties, workspace, and
artistic support offered. Come in and
express yourself! Open Tue.-Sun.
Beaders Paradise
32 Masonic St.
Northampton, MA 01060
Ph. (413) 586-3885
Email: info@beadersparadise.biz
Website: www.beadersparadise.biz
Explore your creative spirit at Beaders
Paradise. Seed beads, books, variety of
semi-precious, glass, silver, bone and
other beads, findings, tools, stringing
materials, work table, classes, parties.
Open 7 days, Mon.-Sat. 10am-6pm;
Sun. 12pm-5pm.
SMP Designs Bead Studio
& Workshop
619 Main St. #1
Centerville, MA 02632
Ph. (508) 862-0228
Fax (508) 862-0229
Email: beadworkshop@aol.com
Website: www.beadworkshop.net
Specializing in vintage glass beads,
pendants and unique findings. Large
selection of Japanese seed beads,
contemporary lampwork, Thai Hill
tribe silver, tools, supplies and more.
Private lessons and workshops avail-
able in our beautiful studio located
in a historic Cape Cod village, just a
short walk from the beach!
MICHIGAN
Brighton Beads & More
9850 East Grand River
Brighton, MI 48116
Ph. (810) 844-0066
Fax (248) 544-0728
Email: garberdesigns@hotmail.com
Website:
www.brightonbeadsandmore.com
Expect the Unusual & the Usual. In-
novative beginning to advanced class-
es in Simple Soldering, wire wrap-
ping, PMC, metalsmithing, embellish-
ment, beading techniques, fused glass
& lampwork from staff & visiting ac-
complished teachers. Open everyday.
World of Rocks
42 North Huron St.
Ypsilanti, MI 48197
Ph. (734) 481-9981
Website: www.worldofrocks.com
We dont charge to play come and
have fun. Classes-beginners invited.
Beads, findings and tools. Also charms
and rock specialties. Open 11am-5pm
Mon.-Thurs; 11am-7pm Wed.; 10am-
7pm Fri; 10am-6pm Sat. I-94, exit 183.
NEW JERSEY
Extraordinary Beads
2 East Main Street
Clinton, NJ 08809
Ph. (908) 735-6797
New, full-service shop offering quality
beads and supplies. Inspiring selection
of Swarovski crystal, Miyuki beads,
Czech and Venetian glass and more.
Design your own fabulous jewelry
and accessories! Classes/parties/work
table. Wed.-Sat 10am-5:30pm; Sun.
12pm-5pm.
Jubili Beads & Yarns
713 Haddon Ave.

Collingswood, NJ 08108
Ph. (856) 858-7844;
Fax (856) 858-7846
Email: info@jubilibeadsandyarns.com
Website:
www.jubilibeadsandyarns.com
Creative Paradise! No other store
has great beads, fabulous yarns, spin-
ning, weaving, PMC, polymer clay,
rubber stamps, and a state-of-the-art
lamp work studio, all in one amazing
place! Classes, parties, workshops,
and superb customer service! 10
minutes from Philadelphia.
Montclair Beadworks
43 Church St., Montclair, NJ 07042
Ph. (973) 744-3202
Fax (973) 744-3231
Website:
www.montclairbeadworks.com
Child friendly full-service bead shop and
studio. Beads galore Czech glass,
Swarovski crystal, Bali silver & stones;
findings, tools, books & gifts. Work
table, classes, birthday parties, girl scout
jewelry badge, restringing & gift certifi-
cates. www.montclairbeadworks.com.
The Bead Cellar
6305 Westfield Avenue
Pennsauken, NJ 08110
Ph. (856) 665-4744
Email: vharding@beadcellar.com
Website: www.beadcellar.com
Creator of THE BEAD CELLAR PAT-
TERN DESIGNER SOFTWARE the
most versatile beading software for the
PC. Specializing in Toho Japanese seed
beads, accent beads, books, supplies,
and Classes. Located just minutes from
Philadelphia and Cherry Hill. Tue.-Fri.,
Noon-7pm; Sat.-Sun. 11am-5pm.
NORTH CAROLINA
Bead Boutique
2312-A Mathews-Township Pkwy.
Matthews, NC 28105
Ph. (704) 845-2848
Fax (704) 845-2878
Email:
amandacarrolldesigns@yahoo.com
Website: www.beadboutiquenc.com
Full service bead store with the largest
selection in the Charlotte area, ster-
ling silver, semi-precious, Swarovski,
Pearls, Czech, tools, findings, Pandora,
etc... Classes, parties, custom wire, re-
pair. Open Mon.-Sat. Bead Boutique,
everything you need to bead.
OHIO
1 Stop Bead Shop
2752 Festival Ln.
Sawmill & 161 in JoAnns Center
Columbus, OH 43017
Ph. (614) 573-6452
Email: info@1stopbeadshop.com
Website: www.1stopbeadshop.com
New Store! Come bead with us!
Central Ohios largest selection of
Czech glass and Japanese Miyuki and
Toho seed beads. Silver, Swarovski,
semi -preci ous and much more!
Classes in bead stringing, bead weav-
ing, wire-wrap, lampwork, and PMC
by experienced teachers.
Beads N More
1809 Lincoln Way East
Massillon, OH 44646
Ph. (330) 834-1981;
Fax (330) 834-1982
Email: beadsnmore@sbcglobal.net
Website: www.beadsnmore.biz
Wonderful selection of Swarovski,
seed beads, gemstones, beading sup-
plies & books. Classes in jewelry
making, including classes by Vickie
Star. Friendly & knowledgeable staff
to help with designing & all of you
beading needs.
Meant to Bead
6536 W. Central Ave.
Toledo, OH 43617
Ph. (419) 842-8183;
Fax (419) 842-9893
Email: meant2bead@aol.com
Website: www.meant2bead@aol.com
Come see our wonderful selection
of seed beads, Swarovski crystal,
delicas, Bali, pearls, semi-precious
stone, art beads, charms, findings,
books, etc. We offer design help,
classes and parties in a fun atmos-
phere. Mon.-Thur. 10am-8pm, Fri. &
Sat. 10am-6pm, Sun. 1-5pm.
OREGON
Ginias Beads
4906 River Rd. N.
Keizer, OR 97303
Ph. (503) 390-4593
Email: ginia@giniasbeads.com
Website: www.giniasbeads.com
3 miles north of Salem, were Keizers
only bead source. We feature Swarov-
ski, stone, pearls, silver, books, maga-
zines & findings, but our real selection
is in Czech glass. Remember, no sales
tax in Oregon, so come on by!
PENNSYLVANIA
Blue Santa Beads
18 North Pennel Rd.
Media, PA 19063
Ph. (610) 892-2740
Fax (610) 892-2847
Email: bluesantabeads@aol.com
Website: www.Bluesanta-beads.com
Tues, Wed., Fri. 10am-6pm; Thurs.
10am-9pm; Sat. 10am-5pm. Seed
beads, Czech, Swarovski, Kazuri,
Greek, findings & tools; books &
classes. Girls night out; parties-bridal
& birthday.
Isabelles Bead Shoppe
109 S. Pugh St., State College, PA
Ph. (814) 234-1060
Website: www.isabellesbeadshoppe
@yahoo.com
*UNUSUAL selection of beads/sup-
plies. OFFERING: ALL Silver Clay,
wire, seed bead & fused glass classes.
Rio/PMC Conn. Level II Certified
owner/goldsmith-Kathy St.Martin
Instructor. **NEW KIST GOLD/
GLASS Tech Kit by Kathy St. Martin
now available. Hrs: Tue.-Sat. 12-6pm.
The Bead Garden
2122 Darby Road
Havertown, PA 19083
Ph. (610) 449-2699
Email: thebeadgarden@verizon.net
Website: www.thebeadgarden.com
The Bead Garden is a friendly, full-ser-
vice bead store located in the heart of
Havertown, PA. Large selection of
Miyuki seed beads, semi-precious,
Czech glass, pearls, sterling silver al-
phabet beads, Swarovski and much
more. Classes offered as well as par-
ties for all ages. Our staff is always
available and happy to help you with
your projects. Beginners are welcome.
Garmer Jewelry & Bead
4033 Freeport Road
Natrona Heights, PA 15065
Ph. (724) 230-2434
Email: cc@garmerjewelry.com
Website: www.garmerjewelry.com
Jewelry, beads, findings and classes
are available for beginners as well
as more experienced beaders. Stop
by to work on your own projects
at our center training table. Poly-
mer clay bead classes. Parties and
womens groups welcome. Visa/MC
www.garmerjewelry.com.
RHODE ISLAND
The Bead House
11 Constitution St., Bristol, RI 02809
Ph. (401) 253-1188
Fax (401) 253-5559
Email: kimodesign@msn.com
Website: www.thebeadhouse.com
HUGE SELECTION! Over 8,500
items in stock. Specializing in Czech
glass, seed beads, stone, pearls, crys-
tals, SILVER and gold findings. Work-
shops in PMC, Beading, Polymer, Wire
and Metal Work. Designer discounts.
WASHINGTON
The Bead Factory
3019 6th Ave., Tacoma, WA
Ph. (888) 500-2323
Website: www.TheBeadFactory.com
Experience a bead store like no oth-
er- highest quality bead shopping in
our 5,000 sq. ft. shop. Glass dia-
monds & everything between. We
offer 50+ classes each month. 15% off
1st purchase.
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CALIFORNIA
California Institute of Jewelry Training
5805 Windmill Way
Carmichael, CA 95608
Ph. (800) 731-1122; Fax (916) 487-1189
Email: info@jewelrytraining.com
Website: www.jewelrytraining.com
Courses available: Jewelry repair, Gemology Certifi-
cate Program, F.G.A., MasterValuer Appraisal pro-
gram www.mastervaluer.com, Jewelry Retail sales.
Short courses specializing in all forms or Jewelry
arts and Gem Identification, numerous workshops
including gemstone carving, weaving and cloisonn.
Evening and Saturday courses and lab time available.
Authorized by Fed. Government to enroll Interna-
tional Students. Placement assistance.
Farrin OConnor Design Studios
146 W. Bellevue Drive
Pasadena, CA 91105
Ph. (626) 796-5300
Website: www.farrinoconnordesign.com
Comprehensive techniques and project oriented
workshops: jewelry fabrication, stone setting, ring
making, wire work, hydraulic press, soldering tech-
niques and micro-torch, many other bench tech-
niques, wax modeling, PMC, designing with beads &
natural stones, handmade clasps. Creative, profes-
sional instructors. Jewelry supply store on premises
for all your needs.
Precious Metal Arts
2510 Main Street, Suite C
Santa Monica, CA 90405
Ph.(310) 581-4844 Fax (310) 581-5144
Email: classes@preciousmetalarts.com
website: www.preciousmetalarts.com
A unique combination of introductory classes (8
students), workshops, and small group tutoring ses-
sions (2-4 students) allows customized education
from beginning to advanced. Instructor Peter
Solomon brings 25+ years of colorful and varied ex-
perience in wax carving, production management,
stone setting, custom design, and fabrication. Visit
website for current schedule
School of Beadwork
P.O. Box 4625
San Luis Obispo, CA 93403
Ph. (805) 440-2613
Email: info@schoolofbeadwork.com
Website: www.schoolofbeadwork.com
Upcoming retreats. Teachers include: Carol Wilcox
Wells, Cynthia Rutledge, Laura McCabe & Melanie
Potter. Beadwork Celebration A beading vacation
in Celebration, Florida. Beads on the Vine- An ex-
traordinary beadwork retreat in Californias Wine
Country. By the Bead Blue Sea- An enchanting
beadwork retreat along Californias coastline.
The San Gabriel Bead Company
325 East Live Oak Ave.
Arcadia, CA 91006
Ph. (626) 447-7753; Fax (626) 447-7455
Website: www.beadcompany.com
Come visit us at our location! We are fully equipped
with three classrooms. On-going instruction in basic
and advanced beadwork, soldering, Precious Metal
Clay, glass beadmaking and fusing, gourds, mosaics,
and other craft workshops. Over 100 classes each
quarter. Call us for a current workshop schedule.
DELAWARE
Jewelry Fest, a Lapidary Journal,
Step by Step Beads & Step by Step
Wire Jewelry Special Event
Wilmington, Delaware
Ph. (610) 232-5700
Website: www.jewelry-fest.com
Expo and Classes: December 1 & 2, 2007. Shop for
spectacular finished jewelry or come and make your
own - perfect for holiday gifts giving. Gemstones,
silver, artisan pieces and more will be featured at
the Expo. Classes are just 3 hours each and begin-
ners are welcome. Leave class with a finished piece
to keep or give as a gift. For information and regis-
tration, please visit website.
Wire Jewelry Fest, A Step by Step
Wire Jewelry Special Event
Wilmington, DE
Ph. (610) 232-5700
Website: www.wirejewelryfest.com
Expo and Classes: July 20-22, 2007. Two days of
shopping and classes devoted to wire jewelry mak-
ing! Classes offered on wire wrapping, wire crochet,
Chain Maille, weaving with wire, designing and much
more. Shop for all your wire jewelry making sup-
plies wire, findings, tools, beads, books. Look for
details and class registration on our website!
FLORIDA
Bead Fest Miami, A Step by Step
Beads Special Event
Sheraton Miami Mart
Miami, FL
Ph. (610) 232-5700
Website: www.beadfest.com
Expo and Classes: May 4-6, 2007. 75+ hands-on
jewelry and bead-making classes taught by expert in-
structors. Courses include bead stringing, wire
working, jewelry making with the revolutionary new
metal clays, marketing and selling jewelry. Shop for
findings, wire, materials, beads, tools, equipment,
books, videos, supplies and finished jewelry. Look
for details and class registration on our website.
Crystal Creations Beads Gone Wild
4058 Forest Hill Blvd.
West Palm Beach, Fl 33406
Ph. (561) 649-9909
Email: Info@beadsgonewild.com
Website: www.crystalcreationsbeadinstitute.com
Leaders in beading education. Over 100 professional
classes and monthly guest teachers that you know &
love. Discover the Ancient Art of Beading in our
3400 sq foot facility, packed full of beads and classes.
See why people say Crystal Creations is one of the
top ten bead shops in the USA!
GEORGIA
Bead Fest Atlanta,
A Step by Step Beads Special Event
Georgia International Convention Center
Atlanta, GA
Ph. (610) 232-5700
Expo and Classes: August 10, 11, & 12, 2007. Learn to
make your own beautiful beaded jewelry in classes
taught by industry experts.. Shop for beads, wire, tools,
silver, findings, books and more at the Expo. Look for
more details and class registration on our website!
William Holland School of Lapidary Arts
P.O. Box 980
230 Lapidary Lane
Young Harris, GA 30582
Ph. (706) 379-2126
Email: lapidary@alltel.net
Website: www.lapidaryschool.org
We offer classes in beading, cabochons, silver, gold,
wirewrappings, glass bead making, chain making,
channel, faceting, gem ID, mineral ID, intarsia, glass
fusing, opals, silver clay casting, jewelry repair and
gem trees from May through October each year.
Check out our website.
ILLINOIS
Natures Creations, Ltd.
40W541 IL Rt. 64
P.O. Box 360
Wasco, IL 60183-0360
Ph. (630) 377-0197
Email: info@dichroic.biz
Website: www.dichroic.biz
HANDS ON instruction, Small Classes, & Flexible
Scheduling. Specializing in Dichroic Glass Jewelry, we
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Jewelry and Lapidary Classes
Welcome to The Next Step. You can begin a new hobby in the lapidary arts or further refine your
existing talents with these fine schools, studios and workshops. Just pick up the phone or log on to find out
even more information about these exciting programs. If you would like to list your school or workshops,
please contact Scott Stepanski at (610) 232-5729 or email scott.stepanski@primedia.com.
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are a working studio and rock shop offering classes
in beginning-advanced fusing, beginning-advanced
PMC & Art Clay Silver, Cabochons and Silver Jewel-
ry. Wholesale/Retail: Designer Cabs, Beads, Bullseye,
C.B.S. & Navitar Dichroic Glass, Moretti Rods.
MARYLAND
Gem Cutters Guild of Baltimore
3600 Clippers Mill Rd., Suite 116
Baltimore, MD 21211
Ph. (410) 467-9838
Website: www.gemcuttersguild.com
Offering beginner to advanced classes in the jewelry
arts including lapidary, faceting, gold and silver
smithing, wire wrap, PMC, polymer clay, fused glass
and much more! One day workshops to eight week
sessions offered throughout the year. Talented local
instructors as well as visiting nationally known
artists. Check our website.
MICHIGAN
Brighton Beads & More
9850 East Grand River
Brighton, MI 48116
Ph. (810) 844-0066
Email: garberdesigns@hotmail.com
Website: www.brightonbeadsandmore.com
Expect the Unusual & the Usual. Innovative beginning
to advanced classes in Simple Soldering, wire
wrapping, PMC, metalsmithing, embellishment, bead-
ing techniques, fused glass & lampwork from staff &
visiting accomplished teachers. Open everyday.
MISSISSIPPI
Trinity Art Design Studio
110 Country Drive
Brandon, MS 39042
Ph. (601) 955-3941
Email: trinityartdesignstudio@comcast.net
Website: www.trinityartdesignstudio.com
PMC & Beading Classes: PMC Level II Certified In-
structor Laura Tarbutton and Guest Instructors
teach fun low-keyed classes. PMC Classes in-
cl ude: Begi nner, Intermedi ate and Advanced.
Beading classes include: Basic Techniques, Bead-
weaving, Right Angle Weave, Peyote, Brick Stitch,
Fringe, Bead Crochet Coming soon: Lampwork,
Chainmaking, Wirewrapping. Call or email for
more information.
NEW MEXICO
Hazeltine School of Fine Jewelry
Santa Fe, NM
Ph. (505) 400-3274
Mr. Hazeltine brings 36 years of professional jewel-
ry making and 23 years of teaching experience to
his school in Santa Fe, New Mexico. The classes are
limited to six students. You will learn professional
time tested techniques that are safe, efficient and
economically sound. Enjoy and gain confidence with
this wonderful profession. Call 505-400-3274 for
more information.
Taos School of Metalsmithing and
Lapidary Design
PO Box 3005
Taos, NM 87571
Ph. (505) 758-0207
Email: mndesigns@msn.com
Website: taosjewelryschool.com
Taos Jewelry School offers beginning through ad-
vanced classes in jewelry and lapidary design
throughout the year taught by internationally rec-
ognized designer, Marilynn Nicholson, known for
her unusual techniques in cutting and setting
stones and innovative designs for catches and
mechanisms. Individual and small classes empha-
size personal attention in an artistically stimulating
atmosphere.
NEW YORK
JCC in Manhattan
334 Amsterdam Avenue at 76th Street
New York, NY 10023
Ph. (646) 505-5708
E-mail: sorr@jccmanhattan.org
Website: www.jccartstudios.org
The Jewelry Studio offers classes and workshops in
jewelry making, wax, enameling, glass fusing, and
beadwork. Contemporary Glass Jewelry with Melissa
Terman: Cover the basics of fusing vibrantly colored
glass to make stones for earrings, pendants, and
small objects. 6 Thursdays, Mar. 23-May 11 (except
Apr. 13 & 20), 6:30-9:30pm.
Studio 34 Bead and Jewelry Arts Center
34 Elton St.
Rochester, NY 14607
Ph. (585) 271-8160
Website: www.studio34beads.com
SERIOUS FUN! Classes in all jewelry media, begin-
ner to advanced. PMC/ArtClay, chain maille, wire,
metalsmith, polymer, seed bead, woven sterling,
glass beadmaking, glass fusing, cold connection, re-
pair, design, legal and marketing. 16 instructors for
private classes and parties. Monthly guild meetings.
Complete public access studio, learning center and
retail store. JEWELRY CLASS CENTRAL!
NORTH CAROLINA
Earthspeak Arts
55 Lees Creek Rd.
Leicester, NC, 28748
Ph. (828) 350-9019
Email: wechurlik@earthlink.net
Website: www.earthspeakarts.com
Earthspeak Arts is located in Asheville, NC. We offer
classes in beginning and intermediate Silversmithing,
casting, advanced techniques, and work space. Com-
ing workshops; Fold Forming, Chasing and Repousse,
Tool Making, Anticlastic Raising, Gravers, and Tex-
turing. Visit our website for the class schedule and
descriptions or call for a brochure.
OHIO
TAP STUDIOS Art Jewelry Workshop
1667 East 40th Street #3B
Cleveland, Ohio 44103
Ph. (216) 773-8277
Email: Gem7th@aol.com
TAP STUDIOS offers professional classes in jewelry
making, metalsmithing, stone setting and wax carv-
ing. Classes limited to 3-5 students per class for a
high attention and individualized teaching atmos-
phere. Students are encouraged and able to work
on their own design ideas. Instruction in small mo-
tor skills which improve tool use.
PENNSYLVANIA
Jewelry Arts Expo and Mineral Market,
A Lapidary Journal Special Event
Location to be announced, near Fort
Washington, PA
Ph. (610) 232-5700
Website: www.jewelryartsexpo.com
Expo and Classes: April 20-22, 2007. Make your
own jewelry in classes taught by experts. Learn
metalwork, wirework, metal clay, stringing, design,
and marketing. Shop for tools, supplies and finished
jewelry. Mineral Market will feature gems, minerals,
fossils and lapidary supplies. For information and
registration, please visit website.
TENNESSEE
Arrowmont School of Arts and Crafts
556 Parkway, Gatlinburg, TN 37738
Ph. (865) 436-5860; Fax (865) 430-4101
Website: www.arrowmont.org
Email: info@arrowmont.org
Arrowmont offers beginning to advanced work-
shops that cover a variety of jewelry making tech-
niques, as well as PMC, enameling, polymer clay,
lampworking, fused glass and beads. One, two-week
and weekend sessions in the beautiful Smoky Moun-
tains during the spring, summer and fall. Housing
and meals available on campus. Register online.
Bead Fest Memphis,
A Step by Step Beads Special Event
Agricenter International
Memphis, TN
Ph. (610) 232-5700
Expo and Classes: November 16 - 18, 2007. 75+
hands-on jewelry and bead-making classes taught by
expert instructors. Courses include bead stringing,
wire working, jewelry making with the revolutionary
new metal clays, marketing and selling jewelry. Shop
for findings, wire, materials, beads, tools, equipment,
books, videos, supplies and finished jewelry. Look
for details and class registration on our website!
TEXAS
Wired Designs
The Shops @ Artisans Alley
555 W. Bitters, Suite 107
San Antonio, TX 78216
Ph. (210) 495-4495
Email: wireddesigns@sbcglobal.net
Website: www.wireddesignsstudio.com
Dichroic beads and pendants are our specialty! We
are a working glass studio offering one-day work-
shops in glass fusing/slumping, Precious Metal Clay,
mosaics, lampworking/beadmaking, metalsmithing,
soldering/setting, and jewelry design & construction.
You dont need experience, just a desire to have
fun! Call or visit our website for complete work-
shop schedule!
WASHINGTON
Pouncing Rain Jewelry and
Metalworking School
Bellingham, Washington
Ph. (360) 715-3005
Website: pouncingrain.com
Offering classes in beginning and intermediate jew-
elry making, as well as workshops in metalworking,
enameling, copper and brass engraving, wire work-
ing and beading. We will introduce you to the
wonderful world of metalworking and jewelry
making. Our retail store carries jewelry making
tools, supplies and findings. Studio memberships
are available.
continued Jewelry and Lapidary Classes
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phone 800.545.6566 www.riogrande.com
Ivy Solomon
Ivy Woodrose
Hagerstown, Maryland
Rowling Cottage
First Place WinnerPMC
2006 Saul Bell Design Award

snt it wonderful how the things around us remind
us of a story? Just the other day I was reminded of
the peaceful times I spent in the summer at my
grandparents house. We worked in the garden and always
ate our dinner outside. After dinner I would lie in the lounge
chair, gaze into the treetops and walk on the branches among
the leaves as a tiny me, no bigger than a butterfly! I learned
about reverie, dreaming and meditation during those visits.
A good story engages all the senses and transports you to a
different perspective while anchoring to the familiar. It leaves
you with a feeling of hope, perhaps a renewed sense of purpose,
and new ideas. A good story has the ability to teach, remind,
challenge, strengthen and uplift.
I love fairy tales and fantasy! Reading them reminds me that
there is more to life than what we experience in our day-to-day
lives. They leave me feeling hopeful and empowered . . .
and motivated to create.
s
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u
r
c
e

c
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d
e
:

A
D
S
B
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LJMS-060067-CN4 10/4/06 4:22 PM Page CN4
LJMS-060067-CN4.pgs 10.04.2006 15:39

Step by Step Jewelry Polymer, Ceramic, and Metal Clays - Winter 2007

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paint your

with 18K gold wire and beads.

chain fired in one piece.

offers myriad possibilities in surface texturing and combining it with

Work surface of glass or smooth

knife with new blade

Small pointed brush

imprint. The 18K

knife. Hold the knife

to the bottom side of the template and set aside

facing up. A flatter, gentle

will shrink 10-15

to your work surface. Rub

over the clay as you

on your fingertip and rub it over

, gently lift the earrings

cloth for a soft luster.

Classic for all of my complex

, and Non Metal Jew-

Silver, is very compatible with fused or lamp-

chain fired in one piece.

eight cards thick. Since you need long

2 cards thick over

. This is needed for extra

four cards thick over a texturing mold.

is very brittle and may break.

too much before firing to avoid breaking.

two cards thick over a

jewelry and teaches class-

24K Gold Flex Wire

Assorted accent beads

Jazz Tempera Paints because of their heavy pig-

over the surface with a small brush (or your

finish with this

because, in this case, I liked the matte fin-

, I recommend using the

pearl and a bit of blue with white

on the texture sheet, which got trans-

400-, 600- and 800-grit

and wipe it onto both pieces to bring

. This method requires several

. This is only an issue

, which requires only one coat, but

over other brands is because of its trans-

over the surface of

over the surface with a small brush (or

tool to remove it) as the top-most

Syringe silver clay

, trace just the outline of the

knife to cut out the

or Art Clay 650

upright so the clay paste

around the rocks and

paste has a tendency

package directions to ensure success

or flex shaft. They are incredibly efficient tools.

, available from Rio

that was offered in the Western

Connections and is a senior instructor with Art Clay

This is the original metal clay formulation. Soft and pli-

is fired by holding it at 1650F for two

's relatively lengthy firing

Developed by Mitsubishi after the introduction of Art