| STEP 1
Roll a slice of translucent clay on the third to narrowest setting on your pasta
machine.
Tear 2 pieces about 4" wide from a roll of wax paper. Trim the clay to 2"
X 1-1/2" and place it on the wax paper 2" from the narrow edge.
Lay the second piece of wax paper on top of it, sandwiching the clay between
the 2. Place the short ends of the wax paper between the rollers of the pasta
machine with the clay close to the rollers. Set the pasta machine on the narrowest
setting and roll the clay along with the wax paper through the machine. (It helps
if you grasp the bottom ends of the wax paper and gently pull as you roll.)
The clay should come out tissue-thin. If the clay is not thin enough to read
a newspaper through, repeat the process with a piece of construction paper behind
the wax paper. Remove the wax paper that adheres to the convex side of the curve,
and smooth away wrinkles in the clay with your finger.
The shape can be spherical, conical, or a tapered cylinder with a flat end.
 STEP
2
Place your photocopy face-down on the clay. Firmly stroke the paper with a bone
folder to ensure good contact with the clay. Allow it to rest for at least 6 hours.
Gently remove the photocopy and apply a thin wash of Quinacridone gold acrylic
paint to the clay. Do not remove the wax paper that is on the back side of the
clay.
|
STEP
3
Roll a layer of white clay on the third from thickest setting on your pasta machine.
Trim to about 2-1/2" X 3". Cover the clay on 1 side with silver leaf.
Stretch the clay slightly to produce cracks in the leaf.
Using a bone folder, apply the translucent clay, image-side-down, on the leafed
clay by stroking it through the wax paper. Remove the wax paper. Be careful not
to pull the clay up, making a bubble. (Go over the clay lightly with a hair dryer
to soften the wax on the paper and make it easier to remove. Be careful not to
harden the clay with too much heat.)
|
|  STEP
4
Place the clay behind the opening in the template. Press the sides of the clay
onto the template to secure it. Gently stretch the clay into a well-balanced dome
by stroking the clay through the opening with your fingers.
Place the template down on a cutting surface and cut out the domed clay by
carefully running a pointed blade around the inside edge of the template. Bake
the clay according to the manufacturer’s instructions.
STEP 5
When the clay is cool, sand with 400-, 500- and 600-grit wet/dry sandpaper in
water, starting with 400-grit. Polish it to a high shine on a rag buffing wheel.
STEP 6
A gilt frame sets off the brooch. Condition a ball of black clay about the size
of 2 walnuts. Roll it out on the third from the thickest setting on your pasta
machine and lay the baked piece on it. Trim to 1/2" all around the piece.
 Roll
the excess clay into a piece about the circumference of the clay gun. Install
the triangular-holed disc in the clay gun and load it with the roll of clay. Because
it requires considerable pressure to extrude clay from the clay gun, it is advisable
to insert the gun into a caulking gun to achieve the necessary force. Place the
loaded clay gun in the caulking gun and pump until you have a triangular “snake”
long enough to encircle the baked image. Repeat the process with a small circular
holed disc to create a small round snake of the same length.
|
STEP 7
Lay the triangular “snake” snugly around the baked piece, with the bottom
of the triangle laid flat against the bottom layer of clay. Join the ends at the
bottom.
Smooth the clay to erase the joint line. Paint translucent Liquid Sculpey®
around the crack between the centerpiece and the triangular snake. This will secure
the delicate round snake.
Lay the round snake in the crack between the triangular snake and the baked
piece. Join and smooth it at the bottom.
Trim the bottom layer of clay flush with the frame. |
|  STEP
8
Lay a sheet of gold leaf on the unbaked frame, tamping it down with the makeup
brush.
You can go back and fill in spots you miss, but a few missed places add to
the antique effect. Do not bother to clean up the excess leaf until after the
piece is baked. Now bake according to manufacturer’s directions.
STEP 9
Brush off the excess gold leaf and varnish the frame. When it is dry, attach a
pin backing with 2-part epoxy following the manufacturer’s directions.
|
| Gwen Gibson studied painting at the University of Michigan
and the School of Visual Arts in New York. She has been working with polymer clay
for 12 years and has taught and exhibited internationally for 5 years. For information
on her classes in the South of France and the USA, visit her website: www.gwengibson.com.
We at Lapidary Journal love feedback! Write
to us in care of Mail Bag, or post your comments to our online
discussion forums. E-mail Jewelry Journal Editor Tamara
Honaman. |
