PolymerClay Free Ebook Projects

Polymer Clay
Jewelry Making:
5 Free Projects to
Learn How to Make
Polymer Clay Jewelry
www.JewelryMakingDaily.com 2
POLYMER CLAY JEWELRY MAKING:
5 FREE PROJECTS TO LEARN HOW TO MAKE POLYMER CLAY JEWELRY
INTERWEAVE NOT TO BE REPRINTED ALL RIGHTS RESERVED
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MAKING JEWELRY WITH
versatile polymer clay opens up a
world of creative possibilities using
common tools and household
equipment. With little more than
a sharp knife, some sandpaper, a pasta
machine, and a toaster oven, you can
make polymer clay jewelry that is
as bold or as delicate as you like.
Inside this terrific e-book, youll find projects that will
show you how to take advantage of the painterly qualities
of polymer clay to make a checkerboard pattern, a jellyroll
pattern, and a graduated color blend. Youll find out how
to decorate the surfaces of your polymer clay beads with
textures and acrylic paints.
Youll learn to combine polymer clay with silver from
old jewelry youre ready to take apart and give new life to
in a brand-new design. Youll work fabric, metal, and more
into your polymer clay beads, necklaces, and pendants
even a combination pin/pendant! And youll love how
lightweight polymer clay is: even very large statement
pieces are easy to wear all day long.
Add polymer clay to your jewelry making repertoire
today!
Merle White
Editorial Director, Interweave Jewelry Group
8
POLYMER CLAY
CONVERSION
NECKLACE
BY SARAJANE HELM
TUXEDO
PIN/PENDANT
BY ILENE GOLDMAN
REVERSIBLE
CHECKERBOARD
PENDANT
BY PATRICIA KIMLE
MAD FOR
JELLYROLLS
BY DONNA KATO
STUFFED NECKLACE
BY LOUISE FISCHER COZZI
3
11
6
14
ORIGINALLY PUBLISHED IN STEP BY STEP BEADS, MARCH/APRIL 2009
Tuxedo Pin
& Pendant
BY ILENE GOLDMAN
If you enjoy dressing up your outfit with a beautiful pin or
a pendant hanging from a simple silver chain, this Tuxedo
pin/pendant is just the thing. Wear the pin on the lapel of
a jacket or coat to brighten it up.
Materials
Polymer clay:
2 oz yellow
1 oz turquoise
1 oz magenta
1 oz black
1 pin back with bail
1 tablespoon of fine or very fine
glitter (optional)
4mm silver-ringed crystal AB
Swarovski hotfix flatback (optional)
Clear liquid clay
Superglue

Tools
Pasta machine*
Tissue blade
50-grit sandpaper for texture
400-, 600-, 800-, 1000-grit wet/dry
sandpaper for sanding
4 x 6 index card cut to the width of
your pasta machine
2-1/2 square cutter
* The settings in the directions are for the
Atlas pasta machine (the widest setting
is #1), so please adjust accordingly.
PATTERN GUIDE FOR SKINNER
BLEND
1. Cut an index card to the width of your
pasta machine. On one long edge of the index
card, make a mark at the and points. On
the other long edge, make a mark at the
point. Draw a line from the point to the
point and another line from the point to the
point. Next, draw a line from the point to
the lower corner of the index card and do the
same at the point.
CREATE THE SKINNER BLEND
2. Condition the yellow, turquoise, and
fuchsia clays on the widest setting on your pasta
machine (#1 setting on an Atlas). Cut out 2
triangles of each color with each triangle rolled at
the widest setting of your pasta machine.
3. Put the same color triangles together
so that each color is now a double thickness.
Using the index card as a guide, place the color
triangles of clay on the card as shown.
4. Press the seams together with your fingers
on both sides of the clay. This is done to ensure
that the clay will not split at the seams when
rolled through the pasta machine. The triangles
do not have to be perfect. Even if they are not the
exact size or shape as drawn on the index card, your
Skinner Blend will still come out very nice.
Place the long end of your rectangle
against the rollers (this will now be called the
bottom edge) and roll it through the pasta
machine at the widest setting (#1 setting on an
Atlas). If you have chosen to add glitter to your
blend, you can begin to add it now (please read
note below about adding glitter).
Fold the sheet in half, bottom edge to top
edge, matching color to color. Roll the folded
sheet through the pasta machine again making
sure that the folded edge goes through the pasta
machine first. Continue folding and rolling the
sheet through the pasta machine in the same
manner for about 2025 passes. Always pass the
clay through the pasta machine in the same
direction each time, otherwise you will smear the
colors, and you will not get a graduated blend.
Note: Adding glitter to polymer clay can get
messy. To reduce the mess of glitter everywhere,
add a small amount of it onto the Skinner Blend
sheetno more than 1 teaspoon at a time
each time you roll the sheet through the pasta
machine. Rub the glitter over the surface of the
clay with your finger and then fold the clay sheet
in half, bottom edge to top edge with the glitter
on the inside, sealing the side edges like a pocket.
Put the sheet through the pasta machine, folded
side first. Continue adding small amounts of the
glitter in the same way until all the glitter has
been mixed in.
CREATE THE PIN/PENDANT
7. Cut off a 2 section of the blend, across
the colors.
8. Run this strip through the pasta machine
on a thin setting (#4 on an Atlas). Ensure
that the color stripes are perpendicular to
the rollers.
DID YOU KNOW?
You can condition your clay using a pasta machine, working
with 1-2 ounces at a time. Soften the clay in your hands, then flatten
it out with a rolling tool. Set the pasta machine on the widest setting
and roll out the clay. Note: Never force a sheet of clay that is thicker than
the roller opening because this could damage the pasta machine. Fold the
clay in half and run it through the pasta machine again, fold side first. Repeat
until the clay is soft and pliable, or about 15 times.

TUXEDO PIN & PENDANT BY ILENE GOLDMAN

directions.
14. Sand the front of the piece using 400,
600-, 800-, and 1000-grit wet/dry sandpaper. Buff
to a nice sheen.
RESOURCES: Similar polymer clay pieces can be
purchased from Ilene: e-mail at pcclayer@aol.com for
pictures and price list. Polymer clay and glitter: Check
your local craft store.
ILENE GOLDMAN lives in
the beautiful midHudson Valley
of New York where she is a soft-
ware engineer by day and a poly-
mer clay artist/jewelry designer
by night. She has been designing
jewelry since 2001. In 2004, she discovered polymer clay
and is now a poly-holic. Ilene is the co-president of the
New York Polymer Clay Guild (www.nypcg.org) and a
member of the National Polymer Clay Guild. Visit her
website at www. IleneGoldmanDesigns.com. You can
contact her by e-mail at pcclayer@aol.com.
Optional: Place the Swarovski hotfix
flatback crystals on the black V shape and
gently press it in to ensure that it lays flat against
the clay. Bake according to the manufacturers
directions.
ATTACH THE PIN BACK
12. Place a drop of superglue onto the bar
of the pin back. Place this on the back of the
baked piece and let dry.
13. Roll out a small amount of black clay
on a thin setting (#5 on an Atlas) and cut a small
rectangle to fit over the pin bar. Put
a small amount of liquid
clay on and around the
bar of the pin back. Place
the small rectangle over
the bar and press down
gently using the 50-grit
sandpaper. Bake accord-
ing to the manufacturers
9. Use the square cutter to cut out a sec-
tion from the blend. With the colors horizontal
to you, cut a long narrow triangle across the
colors with the tissue blade to form a V shape
in the square. Set this aside.
CREATE THE BLACK BASE
10. Roll out the black clay on a medium
setting of your pasta machine (#3 on an Atlas).
Texture the top of the black clay by pressing
the 50-grit sandpaper into the surface. You can
also run the clay and the sandpaper through
the pasta machine on the widest setting (#1 on
an Atlas). Spray some water on the clay first so that
the sandpaper will release from the clay easily.
11. Place the black textured clay, textured
side up, on your work surface. Place the Skinner
Blend piece on top of the textured side of the
black clay and cut out your shape with the tissue
blade.
TUXEDO PIN & PENDANT BY ILENE GOLDMAN
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL, FEBRUARY 2002
Reversible
Checkerboard
Pendant
Carved polymer project
BY PATRICIA KIMLE
T
his pendant begins with a solid
black bead. Carved geometric
patterns create many angles which
are highlighted by metallic and
pearlescent acrylics.
Tools
Work surface and rolling tool
(or pasta machine)
Wet-dry sandpapers,
320-, 400-, 600-, 800-,
and 1500-grit
Small hand drill with 1/8" bit
Dockyard v-carver or v-shape
blade in linoleum knife
Permanent fine-point marker
Small paint brush
Buffing lathe with clean,
unstitched muslin buff
Materials
1 pkg. Premo black (scrap clay can
be sub stituted for bead core)
3-4 colors of metallic and/or
pearlescent Lumiere paints by
Jacquard
2 gold tone beads, approx.
3.2 mm holes
22"-30" length of 3 mm rubber
cord (according to preference)
Optional: cord end caps, jump ring
and clasp (for shorter length cord)
cyanoacrylate glue (medium
or slow)
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1. Begin by conditioning your clay. Knead
it by hand or roll it through the pasta machine
several times.
2. Form a bead core with a walnut-sized
piece of black clay or scrap clay. This core should
be slightly smaller than the desired bead. The
shape should be an uneven triangle and tapered
at the edges. Bake according to the manufac-
turers recommendations listed on the package.
Cool.
3. Roll out a sheet of black clay approximately
" thick (this is usually equivalent to the thickest
settings on most pasta machines). Cover the bead
form with the black clay and press firmly, being
careful not to trap any air bubbles.
Smooth the seams and the surface of the
bead. Bake according to the manufacturers
recommendations listed on the package. Cool.
4. Wet-sand the bead beginning with the
320-grit paper. This grit will remove fingerprints
and bumps on the surface. Rinse the paper often.
After the surface is even and smooth, progress
to 400-, 600-, and 800-grit. Each successive grit
removes fine scratches left by the coarser grits.
(Note: Polymer clay should not be sanded with
dry paper or electric sanding equipment as the
surface will be scratched and the dust particles
are hazardous to ones health.)
5. Measure out a grid pattern on the
surface of the bead and draw it with a fine-point
marker. If desired, add the leaf pattern or pattern
of your choice overlapping the grid pattern.
When marking out your pattern, you may wish
to create two complementary designs so that
the pendant becomes reversible.
6. Using the carving tool, follow the lines
created. If you are not experienced in carving,
you may wish to bake a flat piece of clay to
practice with in order to familiarize yourself
with the feeling of the clay and the pressure
required for carving. Try to cut in long, smooth
lines, keeping even pressure on the tool. Keep
the tool at a consistent angle to the work; the
higher the angle of the tool, the deeper the cut
will be.
7. Begin cutting parallel lines diagonally
across alternating squares to create the checker-
board, varying the direction of each row. Make
these cuts shallower than the grid lines.
8. After carving, the bead is ready to be
painted. Choose the main color of paint and rub
the paint into all the carved lines of the bead.
Wipe excess paint off with a dry cloth.

9. Dab a second and third color into random
areas of the pattern, again wiping away excess.
Let dry several hours.
10. Using the drill bit, drill holes about "

deep into each side of the bead, about " of the
way down the height of the bead.
11. Sand off any paints left on the surface
using 1500-grit wet-dry sandpaper. Buff with soft
cloth or buffing lathe with unstitched muslin
wheel. The black clay should acquire a high shine
and look like onyx.
12. Place the gold tone beads on the rubber
cord and glue the cord ends into the bead using
the cyanoacrylate glue. If you prefer a shorter
length, cut the cord into two pieces and glue on
the cord end caps, and attach clasp with jump
rings.
PATRICIA KIMLE has been creating jewelry and fine
craft items with polymer clay for over 10 years. She has
shown work in juried exhibitions of polymer including
the annual Embellishment and Bead & Button shows.
More examples of Pattis work can be found at www.
kimledesigns.com.
REVERSIBLE CHECKERBOARD PENDANT BY PATRICIA KIMLE
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL, APRIL 2002
Mad for Jellyrolls!
Polymer clay pendant
BY DONNA KATO
T
his project features a balanced jellyroll and a coiled roll that
resembles a snail. It includes instructions to create a three- and
four-part Skinner blend and a way to apply your cane slices that will
minimize image distortion.
Materials
Polymer clay (I recommend Fimo
Soft) in black #9, transparent
#14, Indian red #24, sunflower
#16, brilliant blue #33, raspberry
#22
Buna cord
Cyanoacrylate glue
Polyester batting for baking on

Tools
Pasta machine
Sharp blade; I recommend the
Nublade Kato
Bamboo skewer
Acrylic rod
Optional: for high sheen finish,
400- and 600-grit wet/dry
sandpaper and electric buffer
fitted with a loose muslin wheel.
If you do not have a buffer, you
may apply Fimo gloss glaze after
sanding.
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PREPARING THE CLAY
All polymer clay must be conditioned prior
to use. A pasta machine expedites the process
but, if you do not have one, the clays can be
conditioned by hand. Heat also helps, and sitting
on the package first will warm it up about right.
Divide the package into 8 pieces. Knead each
piece separately, then knead them together.
To condition Fimo Soft with a pasta machine,
slice the block in half, compressing the halves
by rolling and pressing with an acrylic rod to a
thickness of ", then rolling each half through
the pasta machine. Roll them together, then fold
and roll, fold and roll until the sheet is soft and
pliable and the surface is unblemished. To speed
up conditioning, reset the machine to a thinner
setting before repeating.
THE 3-PART SKINNER BLEND
1. Condition package each of brilliant blue
and Indian red. Condition the entire package of
sunflower. Because the colors will be arranged
blue, sunflower, red, and sunflower is the center
color, you will need twice the volume of sun-
flower. Conversely, each end color requires only
half the volume of the center color. These are always
the proportions for a three-part Skinner blend.
Roll each color through the thickest setting of
the pasta machine.
Fold the blue and red sheets in half, then,
matching the folded edges up, place one atop
the other.
2. Using the blade, make the first cut close to
the raw edges, perpendicular to the fold.
3. You have now cut a 90 angle.
4. Make a diagonal cut opposite the 90
angle. The specific shape of your folded pieces
will dictate the shape of the triangles you cut. Just
remember, you want to cut two right-angle (90)
triangles that are the same size.
5. Separate the cut triangles. Fold the
sunflower sheet in half. Lightly place the first
cut triangle on the sheet so that the fold in the
cut triangle is perpendicular to the fold in the
sunflower sheet.
6. Using the blade, cut the exposed sun-
flower triangle shape.
7. Remove the excess clay from beneath the
right angle triangles, then reassemble the three
triangles to form a rectangle.
8. The first time you roll this tricolored piece
through the pasta machine, remember that all
colors must come in contact with the rollers!
Position the piece and roll through, still on the
thickest setting of the pasta machine.
9. Fold the sheet so that the same color edge
folds over the same color edge; be sure to do this
every time you fold! Roll fold-first through the
pasta machine.
10. Continue folding and rolling until your
sheet is nicely blended and you have no streaks
in your sheet.
11. Note: To make a two-part Skinner
blend, you only need two right-angle triangles
instead of three.
3-PART SKINNER BLEND
JELLYROLL
12. Fold the Skinner blend sheet, same
color edge on same color edge. Roll lightly with
your acrylic rod to press air pockets out. Trim
the raw edges.
13. Mix 1/16 package of white to 1/16 package
of raspberry. Roll through the thickest setting
of the pasta machine, then through the thinner
settings until you have rolled through to the
thinnest setting of your pasta machine.
14. Place the raspberry/white sheet on the
folded Skinner blend sheet. Trim the edges.
MAD FOR JELLYROLLS! BY DONNA KATO
15. Using the acrylic rod, thin the blue and
red edge. From the thinned blue edge, roll tightly.
TRANSLUCENT SNAIL-TYPE
JELLYROLL
16. Roll conditioned translucent clay
through the thickest setting of the pasta machine.
Cut in thirds and stack the pieces to make a
thick slab. Trim the edges.
17. Using the acrylic rod, thin one edge.
18. Roll a piece of black through the setting
of the pasta machine down to the thinnest
setting.
19. Place the translucent slab on the black
sheet and trim.
20. From the thinned edge, roll up tightly to
make the snail-type jellyroll.
PENDANT ASSEMBLY
21. From your scrap clay, form the basic
shape of your pendant.
22. Id recommend using a clay that retains
its body even when exposed to the warmth of
your hands Fimo Soft is perfect.
23. Cut thin slices from the colorful snail-
type cane. Place one slice on the bead, then roll
with the acrylic rod. Continue, placing one slice
on at a time until the entire bead is covered. By
working one slice at a time, and making your
slices as thin as possible, your jellyrolls will be
less distorted.
24. Cut thin slices from the translucent
snail-type jellyroll and apply in the same way, one
piece at a time. Make the surface of the pendant
as smooth as possible before baking!
PENDANT FINISH
25. Drill holes into pendant using a
bamboo skewer. The holes in my pendant are
approximately
3
8" deep.
26. Roll two small balls of black clay. Cut one
ball in half and roll to make two smaller balls. Place
the large ball in one of the holes. Flatten slightly
with your fingers, then drill through the center
with the skewer. Place a smaller ball on the larger,
then drill through again. Place the other small
ball in the other drilled hole. Press flat and drill
through with your skewer.
27. Place the pendant on the piece of
polyester batting on your baking tray (this will
prevent flat, shiny spots).
28. Bake at 265 for 45 minutes.
HIGH SHINE FINISH
29. Place a sponge in a bowl of water. Lay
the 400-grit sandpaper on the sponge and sand
the piece against the stationary sandpaper and
sponge. Sand all sides of the pendant.
30. Replace the 400-grit sandpaper with the
600 and repeat.
31. Rinse and dry the piece completely.
32. Using the buffer, rub the pendant in
circular motions against the muslin wheel to
bring out the sheen.
33. In the absence of an electric polisher,
you may apply a surface glaze. Simply brush on
after following steps 29-31.
ADDING THE CORD
34. Using cyanoacrylate glue, secure
the ends of the Buna cord in the holes of the
pendant. Let dry, then wear!
DONNA KATO is a polymer clay artisan and jewelry
designer who has used this meduim for many years,
making decorative items for both the home and personal
adornment. She demonstrates at large craft shows, writes
books, and designs projects and tools for Prairie Craft
Company. You can contact her through her Web site,
www.prairiecraft.com.
MAD FOR JELLYROLLS! BY DONNA KATO
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL, MAY 2002
D
o you find yourself drawn to large, statement-making
necklaces that have lots of presence but are just too heavy
to wear? Many necklaces with large beads are enticing but end
up uncomfortably pulling on your neck and can only be worn
for short periods of time.
Inspired by my creative friend Ruth Ross, this necklace con-
sists of large, hollow-core polymer beads that are strung on
lightweight fabric, keeping the beads in place and retaining the
shape of the necklace. Practically weightless, this necklace can
be worn all day and night with no discomfort.
To make the polymer beads, a surface design is applied to a
polymer slab, which is then wrapped around a powdered dowel,
removed and baked on end. I've used many design approaches
to decorate my beads, including various forms of mokume
gane, etching, texturing, etc .
A huge variety of fabrics can be used as the fiber core on which
the beads are strung. Gauzy, crinkly, iridescent fabrics work
extremely well. Gauzy means it's a lightweight, crinkled fabric
that will easily expand to fill a hollow bead and iridescent
fabric supplies that hidden glint of light. I use leather lacing or
Stuffed Necklace
Lightweight polymer bead and fabric choker
BY LOUISE FISCHER COZZI
tapestry cord as my inner core and then wrap it with the fabric.
The inner core is also used to make the clasp.
There are endless possibilities to stuffed necklaces. If the fabric
you choose is not too flimsy, you can go without the inner core
and then use the fabric to fashion the clasp. The clasp can be as
simple as tying knots in the ends of the fabric and sewing on a
covered hook and eye. Necklaces become more elaborate when
leather lacing and a button clasp are used. They are even more
elaborate when polymer buttons are made and a tapestry cord
is used to form the closing loop. The appearance of the finished
necklace depends as much on the fabric and beads you have
chosen as on the beads you have made. Each work is unique and
personal. But in the end, the necks have it - the very best thing about
a stuffed necklace is its comfort, wearability and incredible lightness.
Materials
Polymer clay in contrasting colors (I
used Premo! for these beads) - 2 oz.
will make about 3 beads
Leather lacing - desired length of
necklace plus 5"
Sobo Glue (recommended as it is
best for fabric and flexibility)
Gauzy, crinkly, iridescent fabric
Flat metallic ribbon for wrapping
Bead for clasp (I used a fire coral
bead)
Beads and thread for decorating
(optional)
Accent Crown Jewels acrylic metallic
paint (optional)
Burnt umber acrylic paint (optional)

Tools
Pasta machine
Deeply textured mold
X-acto'" knife (to cut leather)
Scissors to cut fabric
Needle and thread
Wet/dry sandpaper, 400-grit,
optional
OPENING PHOTO: ROBERT BRODIE; STEP PHOTOS COURTESY OF THE AUTHOR
All necklaces are different. The number of
beads used depends on the size of the polymer
beads and spacers. When I make a choker using
1/2" beads, I use 28 beads and no spacers, or
22 1/2" beads with spacers. When I am making
a choker with mixed size beads and wide fabric
spacers, I used 13 1/2" and 3/4" beads. The number
you use will depend on the neck size and the
desired length of the finished necklace.
MAKING THE POLYMER BEADS
1. Choose 3 contrasting polymer colors. I
made my own colors: gold - 1 part gold/l part
pearl; bronze - 1 part gold/l part black: silver - 1
cart silver. Roll each color through #4 in your
pasta machine. After rolling, layer the three pieces
and trim them to approximately 3"x 4".
2. Roll this piece through the pasta maker
on #1.
3. Fold this sheet in half and roll through the
pasta maker on #1. Repeat once or twice more or
until the second color begins to show through.
4. Powder the mold you chose to use and
press the polymer piece into it. Use this textured
slab as is or slice just the layer off to expose under
colors.
5. Cut the slab into slices: the length I recom-
mended is 1 7/8 " x 3/8" to 1" wide.
6. Slant-cut the short edges so that, viewed
sideways, it looks like a parallelogram.
7. Powder a 1/2" dowel to help prevent
the clay from sticking to it - wrap a polymer
slice around the dowel and fuse it to itself on
the slanted edges (lap joint). Remove carefully -
twisting rather than tugging. Bake standing on
end. Sand the ends to smooth the edges if you
want and paint the edges to create a metallic
glow (optional). Add the burnt umber paint after
the metallic paint has dried for an antiqued look
(optional).
MAKING THE NECKLACE
8. Cut a length of leather lacing 5" longer
than you want your finished necklace to be.
9.To create the loops of the clasp, fold over
2" of the cord. Slant-cut the inside of the leather
end to be joined and glue. Wrap flat metallic
ribbon around the cord to help hide the join.
10. To add the bead for the clasp, pull 2 '
of leather lacing through the bead hole, knot at
end and glue.
11.To create the inner core, cut the gauzy
fabric lengthwise or the way it will stretch the
least lengthwise, parallel to the selvedge (finished
edge) if possible, " longer than the length
between the loop and the button. Hem one
short end. Lightly glue the fabric's long side to the
leather lacing. Let that dry. Roll the fabric up, pin
it in place, then slip-stitch it in place so you can
test if the beads fit properly. String the beads on
and if they are too tight, adjust by narrowing the
width of the fabric and rerolling. If the beads are
too loose on the fabric, try rerolling the fabric a bit
looser. Stitch the fabric permanently (using an over-
cast stitch) once you are happy with the look.
STUFFED NECKLACE BY LOUISE FISCHER COZZI
12. Though I have been known to string
just the polymer beads onto the fabric core
with nothing in between, more often, I add
fabric "spacers." To create the fabric spacers, cut
a piece of gauzy fabric to approximately 2" x 1 ".
Turn short edges under and baste.. Fold both
sides lengthwise towards the center. Fold once
more lengthwise. Stitch, baste or overcast stitch.
Wrap around the necklace or a 5/8" dowel. Stitch
the edges together but don't attach them to
the necklace core (they should be able to slide).
Decorate the outside edge with beads (optional).
13. String the polymer beads and fabric
spacers (if you choose to put them in your
finished piece) onto the fabric core. Your necklace
is now complete.
Additional options: This necklace offers a
lot of opportunities for embellishing. Faux tassels
can be created by folding pieces of fabric whose
short ends have been frayed, and wrapping just
once around the fabric core, then securing with
beads and/or metallic threads. In my last class,
a student used the core between the beads
as a base on which to do wonderful elaborate
beadwork. The sky's the limit.
Before beginning with polymer clay, Louise Fischer Cozzi
was a graphic designer, sign maker, and fiber artist. Her
interest in typography and fabrics heavily influenced
her polymer work, which has evolved since 1991. She is
a teacher, has been pub lished extensively, and her work
has been shown nationally and internationally. She can
be contact ed at tempestal@aoLcom or you can write to
her at 419 Sixth Street, Brooklyn, NY, 11215.
STUFFED NECKLACE BY LOUISE FISCHER COZZI
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL, MARCH 2000
Polymer Clay Conversion Necklace
BY SARAJANE HELM
I
n looking through my jewelry box, filled with the rings and pendants and other items I
like too much to part with but never wear, I came across a gemstone and sterling silver
pendant that I had gotten decades ago and rarely wore anymore. I was thinking that it was
too bad I couldnt just string this up with some of my own beads when it occured to me that
with just a little effort, I could change the entire look of the pendant. Since both the stone
and the metal could withstand the 265F temperature needed to bake polymer clays, I was
on my way.
Note: Even though 265F is a low oven temperature, make sure that any gemstones youre
working with are not heat-sensitive.
Materials
An old silver and opal pendant
Polymer clay (I use Fimo)-small
amounts white #0, translucent #0 1,
and ivory (this is not a stock
color, but rather my own mix of
white, translucent, and tiny
amounts of golden yellow #I5
and caramel #17)
Flecto Varathane Diamond Elite (a
finish available from hardware
stores)
Gold and silver metallic foils (avail-
able from art supply or
framing stores)
Micro-crystaline glitter (available
from most craft or party supply
stores)
Fiberfill (polyester quilt batting or
stuffing)
Black and metallic gold acrylic
paints
Assorted beads
Cord for stringing (I use 3-ply nylon
twist cord )

Tools
Pasta machine, brayer, or empty
glass jar
Rotary tool (optional)

1. Place the pendant onto a flattened piece
of ivory polymer clay. I created the ivory look by
stacking layers of white, translucent, and cream-
colored clays, then slicing to reveal the striped
pattern. To flatten the clay, use the pasta roller,
brayer, or glass jar. Using a sharp craft knife, cut
around the pendant to form a shape that works
(mine was a paddle shape). Lightly press the
pendant into the clay, leaving the sterling silver
loop at the top free for later stringing.
2. Flatten the rest of the clay again, and on
top of the piece, randomly place a few small
pieces of gold and silver metallic leaf. The nice
thing about using leaf with polymer clays is that
it easily adheres to the raw clay surface without
any sizing (the tacky substance you normally
use to attach gold leaf). Sprinkle just a tiny bit
of micro-crystalline opalescent glitter onto the
surface, using your finger to brush off any excess,
and stick the glitter to the exposed clay between
the bits of metal leaf.
3. Run a layer of translucent clay through the
pasta machine on the #6 setting (the second-
thinnest setting of the rollers). Carefully place
the translucent clay sheet over the leaf and clay
base, smoothing out any air and making sure the
resulting sandwich is firmly stuck together. The
translucent layer entraps the glitter and the metal
foil, and the resulting sheet can be rolled and
further stretched to break apart the foils.
4. Cut small pieces of this sheet. Press them
onto the ivory backing and the pendant edges
along the top left and bottom right to hold the
pendant in place, much as a metal bezel would
do. Add tiny decorative bits of the ivory clay
(top and bottom) and the clay with metal leaf
(bottom). Use a needle to score a few decorative
lines and to poke the occasional hole, again just
for the look of it.
5. Place the pendant in a baking pan on a
little nest of fiberfill (to protect the clay from
the direct heat of the pan) with another tiny
puff over the opal. Bake for 30 minutes in a
265F convection oven. I always use a separate
oven thermometer next to my pieces to ensure
the correct temperature underheating
results in brittle clay, while overheating can
scorch the clays and produce toxic fumes. Note:
Always follow package directions when using
polymer clay! When used according to direc-
tions, polymer clay is non-toxic, but directions
vary slightly from brand to brand.
6. While the pendant is baking, use the
remaining clay to form a few beads. I made
some that were fairly simple, others that were
decorated with caps made from ivory colored
clay placed at top and bottom of the bead, and
others that were made with tiny balls added for
a reticulated effect. The tiny opalescent glitter
and metal flakes from the foils added to the
subtle coloration, and helped to tie the faux
effects to the genuine opal and silver of the
original piece.
7. Bake these beads, and when cool, stain
the pendant and beads using a mixture of
Flecto Varathane Diamond Elite and a tiny
amount of black and gold metallic acrylic
paint. Scrub this mixture onto the piece, and
immediately wipe it off of the top surfaces
using an old T-shirt. The recessed areas hold
the mixture, and the resulting look is more like
true ivory. If desired, buff some of the beads
with a muslin wheel on a rotary tool for a
soft sheen. This is particularly effective on the
translucent clay areas, which can be buffed to
a glassy sheen.
8. When dry, string your polymer clay
pendant and beads with your choice of other
beads. I used other faux ivory beads, plus
beads made of glass crystal, lampworked
glass, metal and even a few fish vertabrae!
Use a 3-ply nylon twist cord for stringing, as it
is sturdy enough for long necklaces, yet small
enough to fit through the metal seed beads.
SARAJANE HELM is a Longmont, CO-based
artist. Her specialties include graphic and wearable art,
beads, and dolls.
POLYMER CLAY CONVERSION NECKLACE BY SARAJANE HELM

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