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If you have a pasta machine, have you ever wondered about how thick a sheet of clay is by using numbered settings on your machine? Here's your answer... · #1 = 1/8" or 3.2mm · #2 = 7/64" or 2.8mm · #3 = 3/32" or 2.4mm · #4 = 5/64" or 2.0mm · #5 = 1/16" or 1.6mm · #6 = 1/32" or 0.8mm · #7 = 1/40" or 0.6mm |
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Tips for making Cameos Q. I would like to start making some cameos. I can never get mine to look nearly as good as others I’ve seen. Is there a trick that I'm missing? I can never get mine to have a nice edge between the white and the background.
A. 1. You will need at least two colors of polymer clay: usually ivory for the cameo part and a darker color for the background. If you would like a marbleized or shaded background, mix some ivory canes or balls into the darker color clay. 2. Be sure the clay is well conditioned. Most molds don’t require a release agent, but if you find the clay sticking to the mold, try spraying with water or dusting with corn starch. 3. Take a small ball of ivory clay (better too little than not enough) and press it into the cameo portion of the mold. 4. Use the handle of a paint brush or a chisel headed clay shaper to tamp the clay down. 5. Work slowly and meticulously so as to capture all the detail of the cameo. It is OK, even preferable to leave some convexity to the ivory clay. 6. Leaving sections of the ivory very thin (for example, the folds of a woman’s dress) will create a beautiful translucent filmy look. 7. The most important step on the cameo level is to smooth the edge of the design so that when the darker clay base is added to the mold, you achieve the nice sharp edge you are seeking between the cameo and the dark background. 8. Roll out a small piece of the background clay to the proper thickness for your mold. 9. Gently press the mold on top of it to mark the shape for cutting. 10. Cut the background and lay it into the mold. 11. Tamp around the edge and work gently toward the center, applying less pressure when you are over the cameo portion to avoid causing the ivory clay to ooze out of the depressed area of the mold. 12. If the clay is not level, gently add more background color to top it off. 13. Use the paintbrush handle or clay shaper to level and smooth the back. 14. Bake as usual.
To achieve an antique look, apply a whitewash to your cameo after baking. Brush on white acrylic paint thinned with water. Then wipe off the excess. Using white on a light color clay gives very subtle shadings and depth.
Various cameo techniques to experiment with. · It would be fun to marbleize colored clay for an elegant background look. · As far as the silhouette goes, it could be painted first with a white primer, and then topped with a pearl or translucent paint for special effects. · Another idea would be to fill the mold in the silhouette areas with white clay and then the background with colored clay. Then when it's baked you could use white transparent pearl paint to finish off the details of the hair, leaves etc.... · Another idea that would be fun, would be to just make the whole cameo with white clay, and then use a fine tip paint pen for better details to color in the background and then use an antiquing effect over the top of entire casting. That would be beautiful. · Sue Espy’s website also has some great cameo information.
If you would like to send a picture of your finished work, we would be happy to feature it on our site.
You can view pictures of handmade cameos that were made by some of our very talented customers on our gallery page HERE. It’s worth a look!
Do you have any storage tips for molds or clay? Keeping molds in order makes it much easier to select just the right one for each particular project. Select shadow boxes, drawers or trays that will hold one layer of molds. Place them by category in each storage unit and label the front in bold, easy to read letters. Here are some suggestions for storage units: pizza boxes, loaf cake pans, cookie sheets with sides, Rubbermaid type plastic trays or a metal tool chest or tackle box that has drawers. Some tool chests are stackable and it is also possible to find plastic trays that stock as your collections grows. Some people also like to attach a picture of the molded object to the back side of the mold. Feel free to use our pictures for this use "only." · Never store cured clay with uncured clay. The plasticizers will leach back into the cured clay and cause it to weaken and possibly break. · As long as raw clay is completely wrapped, it is safe to store in any type of container. · Unwrapped clay won't dry out, but wrapping keeps airborne particles from sticking to the clay, which seems to act as a dust magnet. If you like, you can leave uncured clay on your work surface with just a sheet of plastic wrap draped over it to keep it clean. · Wrapping raw clay makes it easier to store in a compact place without the different colors of clays touching. (This can lead to color transfer between blocks of clay.) · Some people find that certain tackle boxes, in particular, don't react to clay, which makes it possible to store unwrapped clay or canes very easily. · Glass or metal containers are fine for storing raw polymer clay.
How do I give my clay an antiqued look? You can apply a patina with a dark color of acrylic craft paint. Try black, dark browns such as burnt umber, or charcoal gray.
1. Paint the piece with a stiff brush, making sure to get paint into the crevices. 2. Wipe it lightly with a paper towel. You don't have to get all the paint off the surface; make sure not to wipe so hard that you remove paint from the crevices. 3. After the paint dries completely, rub the piece with fine steel wool to remove it from the high surfaces. 4. Buff the piece lightly to restore the high surfaces.
An antique patina is particularly effective on faux stones such as ivory, and on embossed or formed pieces with high and low areas; the dark patina remains in the areas after you rub it off the high ones, bringing the pattern into sharp relief. For a "just-dug-out-of-the-ground" look, carve scratches and gaps into the clay, before or after firing, and then use a dark patina to bring out these imperfections.
How do I give my clay a metallic look? Chrome-colored Paint on Clay: Polymer clay doesn't react well with most finishes that are petroleum based. The finish will remain tacky due to a chemical reaction between the plasticizers in the clay and the solvent in the varnish or paint.
There are a number of products you can use to "metallicize" clay, including metallic powders, leaf, and rubbing compounds.
Sheets of gold, silver, or colored leaf can be layered between thin sheets of translucent clay, used to wrap a cane, or placed on a sheet of clay which is run through the pasta machine to fragment the leaf. You can use composition (aluminum-based) leaf, which is much less expensive than leaf made of precious metals.
Metallic rubbing compounds are wax-based. You can use your fingertip to highlight raised areas of an embossed clay piece (use just a little, with a very light touch), or coat an entire piece in metallic colors for a different look. You need to glaze the piece afterward, or the metallic layer may rub off.
How do I use metallic powders with polymer clay? Eberhard-Faber (Fimo) and Amaco (Friendly Clay) make loose powders for use with the clay, in gold, silver, and metallic colors. You can use these powders in all sorts of ways:
· Mix with the clay for a glittery effect · Use as a mold release to coat the surface of a molded shape lightly with the powder · Dip an embossing tool into powder, then press it into the clay · Sprinkle onto a piece · Coat a cane with powder to create a metallic outer layer · Rub onto the surface of a fired piece to put powder only on the raised surfaces · Put powder on the whole surface of an embossed piece, then (after firing) sand or rub it lightly with steel wool to remove the powder from the raised surfaces and leave it in the crevices You must glaze the piece after firing to prevent the powder from rubbing off. The powder is messy; be careful with it and don't use it in a breezy area, or it will get all over everything. To avoid this, work with very small amounts; you can dip a Q-tip into the powder, or put your finger over the end of the jar and upend it to obtain just a bit to rub onto the clay. It's made of aluminum, not a good thing to breathe; if you're working with metallic powder, it's a good idea to wear a face mask.
What kind of glue do you recommend for polymer clay? Silicone glues such as E-6000 manufactured by Eclectic Products are good for larger objects and to attach cured clay items to metal or wood. Super Glue Gel or Zap A Gap can be used to glue metal findings to finished pieces. The strongest clay to clay bond is formed with Victory 1990 by Bond Adhesives. FPC Corporation makes Surebonder FPC 9000. Use it in a well ventilated area as the fumes could be harmful. Recently we have had excellent luck with using Crafter's Pick "The Ultimate!" water based white glue to adhere baked polymer clay pieces to paper and scrapbook pages. It dries clear and provides a very strong bond. For an excellent clay to clay bond (whether raw to raw, raw to baked, baked to baked), use Translucent Liquid Sculpey. It is not an adhesive until baked. Apply carefully as it becomes slightly opaque after baking. If you're looking for the ultimate surface-to-surface glue advice, check out This To That. Select "plastic" for polymer clay, then select whatever other surface your using. It's not perfect - polymer clay doesn't always work by plastic's rules. But it might give you some ideas.
How do you care for jewelry and sculpture made of polymer clay? Polymer clay creations are quite sturdy in a bulky state such as large sculpture. Thin, small items, especially those made from Sculpey, Sculpey III, and Super Sculpey can be fragile and prone to breakage. Premo Sculpey's formulation, is however, stronger and more resilient, especially in thin applications. Polymer clay, if exposed to direct sunlight, will fade somewhat over time. Large sculptures, such as those used in gardens, should be sealed with Flecto Varathane to prevent deterioration. Jewelry and beads do not require specific precautions. They can be sanded and polished or sealed with an acrylic glaze. Many beadmakers dip a skewerful of beads into Future floor wax (found on our Molding Tools Page soon) and then let the beads drip dry while suspended on the skewer. This prevents bubbles or flat, dull spots if placed on a surface for drying.
What is the most durable, compatible glaze that won't turn sticky on the clay? Polymer clay doesn't react well with most finishes that are petroleum based. Water-based varnishes cause no interaction with the clay. There are two spray brands that will work on polymer clay, too. They are Carnival Arts Ultraglaze and Krylon's Matte Spray Coating. Both need to be sprayed on in a very light single coat. Even some nail polishes stay sticky on polymer clay, so always test before you coat a finished piece of clay work. Polyform bottles an acrylic glaze in two finishes (Gloss and Satin) that is compatible with all polymer clays. Do not apply too thickly, however, as it can peel. Thin slightly with water. Apply 2-3 thin coats rather than one thick one. Do not use most spray glazes as they can ultimately turn sticky due to interaction between the propellant and the clay. Blair brand Spray Glaze is compatible if used thinly. Flecto Varathan is the best glaze by a consensus vote among polymer clay artists. The name brand is "Varathane Diamond Wood Finish--Interior". The product number for gloss is #2000. It is available in pints and quarts. It was formerly marketed under the brand name of Flecto Diamond Varatane. This glaze does not peel and does not turn sticky over time as many other glazes and sprays do! Future Floor Wax (applied with a Q-Tip or brush) is another economical option for a medium shine that also dries quickly and is compatible with polymer clay because it is an acrylic product. The easiest way to varnish a piece is to dip it in a container filled with Future Floor Finish (found on our Molding Tools Page soon). You can bake the piece after the "varnish" has dried. There are other great varnishes on the market. Use only acrylic or alcohol-based varnish on baked polymer clays. Do not use polyurethane, enamel or oil based varnishes which will never dry properly. Baked polymer clay does not need varnishing unless you want a shiny surface (use gloss varnish) or to protect paints or powders applied to the clay.
What types of faux finishes are possible with polymer clays? The types of faux finishes are increasing constantly. Marbling is possible, wood like finishes, mokume gane, stone, turquoise, metallics, etc. Recent experimentation with Liquid Sculpey (available only through cottage distributors has enabled marbling by floating pigments and then dipping polymer clay sheets into the mixture. Imitation turquoise can easily be created by mixing an appropriate turquoise color with two or more other colors. Create a bead shape, carve it slightly, then roll it in dirt -- yes dirt. After baking the bead will bear a very close resemblance to native turquoise, especially when strung on silver wire. There are books and tapes written by prominent artists who detail many faux finishes. Check out the Mindstorm Artisan series from Mindstorm Productions.
How do I get a marbled effect? When two colors of clay are thoroughly mixed, the distinction between them disappears. However, if you stop the mixing partway, you'll get a streaked effect similar to marble. (Make sure not to stop mixing in time to preserve the marbled grain you want; continued handling of the clay will mix it further.)
Different color combinations can give you the effect of various semi-precious stones: for example, marbling several shades of green with white produces a clay that looks like malachite. Marbling earth tones and translucent gives the effect of agate. Pearl white with small amounts of dark gray and translucent makes a good marble.
You can vary the marble effect by mixing the clay in different ways. Roll the partially-mixed clay out into a thin snake, or pull it, to obtain narrow streaks. Running it through a pasta machine one or more times produces a different sort of streaking. Repeatedly twisting and folding the partially-mixed clay strands can make an effect like natural amber. Once you learn how to marble the clay, try different techniques at different points in the mixing for subtly different effects. Experiment with using marbled clay balls into molds. They offer many variations that are beautiful with no painting needed. |
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If you don't have a pasta machine and you want your clay to be an even thickness, try this: Place popsicle sticks or rulers parallel to each other on the work surface. Roll the clay with a rolling pin or acrylic roller between the sticks and the clay will be uniformly level to the height of the sticks. |
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What is the comparison of inches to millimeters? Because millimeters are so much more precise, the metric system is almost always used in the jewelry industry. Here is a gauge so that you can compare inches with millimeters. This chart is not to scale, it is provided so that you can see the comparison of inches to millimeters. Here is an easy rule of thumb: 25mm is an inch, 50 is two, 75 is three. Remembering this helps me out allot. So, for example, something 37mm is around an inch and a half in size. Hope that helps! |
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About Metric Measurements |
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How To Get Rid of Streaks (Without Cleaning your Pasta Machine)
Do you have a dirty pasta machine? A dirty pasta machine sometimes means dark streaks on white clay.
There's some obvious solutions, like cleaning the pasta machine. There's also work-arounds, like running a baby wipe or some scrap clay through the machine first. But what if, despite your best efforts, you still get streaked clay?
Turns out that since those streaks are just on the surface, they wipe right off. Pour some rubbing alcohol onto a paper towel or baby wipe and just rub the streaks off the raw clay... While your at it, rub down the rollers with the alcohol. It takes it right off. Easy as that! |
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Millimeters to Inches Conversion Chart |
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1 inch = 25.4mm |
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Size in mm |
Closest equivalent in Inches |
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1mm |
just over 1/32 of an inch |
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2mm |
just over 1/16 of an inch |
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3mm |
1/8 of an inch |
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4mm |
5/32 of an inch |
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5mm |
3/16 of an inch |
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6mm |
1/4 of an inch |
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7mm |
9/32 of an inch |
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8mm |
5/16 of an inch |
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9mm |
11/32 of an inch |
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10mm |
3/8 of an inch |
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11mm |
7/16 of an inch |
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12mm |
15/32 of an inch |
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13mm |
1/2 of an inch |
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14mm |
9/16 of an inch |
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15mm |
19/32 of an inch |
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16mm |
10/16 of an inch |
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17mm |
11/16 of an inch |
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18mm |
23/32 of an inch |
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19mm |
3/4 of an inch |
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20mm |
13/16 of an inch |