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Festive Holiday Brooch
(or small ornament)
You can create this Holiday or year round brooch, in a snap! A flexible mold does most of the work for you so you can choose your colors and center design. A flexible mod does most of the work for you.
- Polymer clay colors: I used Alizarin Crimson, White and Jungle Premo! Sculpey
- Flexible flower shaped silicone mold-this one is sold here
- Small flexible berries or other center design flexible mold-sold here
- Metallic gold Craf-T Rub on paste, Gilders Paste, or Rub 'n Buff
- Gold button or cabochon with an indented bezel or space in center
- Gold bar pin back finding
- E-6000 Adhesive
- PYM III spray ("Preserve Your Memories) works great for polymer clay)
- Black or dark brown acrylic paint
Tip: Make sure your mold is clean form dust or dirt.
1. Mix and condition a 3/16" sized ball of white clay into a 1/8 cube of Alizarin Crimson, as this color tends to darken as it bakes. Now, condition about 1/8 cube of Jungle (green) clay.
2. Form six small balls into teardrop shapes from the lightened Alizarin clay. Press them into the petal areas of the mold so they almost fill each section. Note: As you press the leaves and the berry areas, the clay WILL spread out!
3. Now form a rope of jungle green clay, cut 6 equal pieces that will almost fill the leaf areas of the mold. Shape into long teardrops and press into place. Fill it a bit less so there is still some open area around each leaf.
4. Press the clay into the mold sections so they now fill the mold and touch each other. Flex the mold until the clay loosens and carefully remove your flower design. Clean any rough edges.
5. Place onto your baking tile. Roll a ball of clay and flatten it slightly, so that it just fits to cover the center hole. Mold a small berry center and secure it in the bezel area of button. Press your button in place, holding it from the sides to avoid distortion. (See finished brooch above).
6. Bake at the recommended temperature for your brand of clay. When cool, try to remove the button. If the button comes out, secure it back in place with a little E-6000 adhesive. If the berries separate, glue those into the bezel button with E-6000 s well. Let dry for at least an hour.
7. Spray the entire surface with PYM III and let dry 15 minutes. To give your piece that antique look and define the texture, paint the entire piece with dark brown paint. Immediately, wipe off the excess paint with a slightly moist wet wipe or moist paper towel. The glaze prevents the paint from changing the clay colors and allows for easy wiping off. Allow to dry.
8. Now rub your finger into the metallic paste and apply a little at a time, to just the raised areas of the piece, to highlight them. When dry, spray with a final coat of PYM III and allow to dry.
Creating Image Transfer 'Tube Beads' Using
Polymer Clay and Tranz-Fuze Paper
Spumoni “Tranz-Fuze” inkjet transfer paper is made for polymer clay. We have been experimenting for a long time with products that work really well with inkjet printers, which seems to be the most common type for home use. Our paper is unique in that the layers can be separated, allowing for a larger variety of applications such as clay cylinder beads. Your transfer images will be as vibrant and beautiful as right after you have printed them. The steps are easy and the results are very durable.
Tranz-Fuze works great on flat sheets
of clay, as well as slightly domed clay cabochons (see two-sided domed bead
with stripe trim below).
Bead Transfer Instructions
1. In a photo program (or on a document), adjust the brightness, saturation and sharpness of each image individual before placing them on the page layout. Make sure they are sized about 1/8” (3mm) larger on all four sides, than your desired bead sizes.
3. Print your images on an inkjet printer and let the paper set for about 5 minutes. Seal the image surface all the way to the white paper edge, by smoothing on a thick, even layer of liquid clay. I use my fingers. The thickness should look cloudy white with just a little color showing behind it when using TLS. Experiment with the thickness. Let it set for 15 minutes as it is self-leveling. Hold close to sun lit window or a bright light to check for bubbles. Bake for 20 minutes in a pre-heated oven at the recommended temperature for the liquid clay brand you are using. Remove from the oven and trim off the white area around image with scissors.
5. Peel the image from the backing carrier paper by simply rolling a corner of the image forward with your finger and separating layers. Roll a conditioned rope of white or pearl white clay (shown at right) to the desired thickness. Note: The transfer layer is transparent except for the ink, so white clay will allow the colors to remain true, but you can try other light clay colors as well.
7. Dip finger in liquid clay and seal the side edges of the image if you plan to glaze piece, or use paint or a pen to decorate edges.
8.Pierce a hole in the bead. I use a bead skewer and bake on a baking rack placed on a ceramic tile. Bake at the temperature and full length for the thickness of clay and brand you are using.
10. Optional step: If you do not plan to use bead caps or ends on your beads, another nice method to finish the ends is to add a line of metallic paint. I run a Krylon 18K gold color metallic marker over the edge so that it hits just a little area on the bead surface and also the ends of the beads (see beads on page 1). I then paint the ends solid gold as well. There are many variations and different types of paints, findings and of course beads you can use with this technique. Use your imagination!
You can purchase packages of 5 or 10 Tranz-Fuze inkjet transfer sheets. Just click photo or go to:
Additional project ideas and inspiration will be posted on my website soon.
Our transfer paper is for use with most any brand of polymer clay. I have had success using the paper with Premo! Sculpey, Sculpey III, FIMO classic, FIMO Soft and Kato clay. I imagine any polymer clay will work! The transfer layer of this paper is flexible, allowing it to wrap around cylinder shapes such as this tube bead. A slight surface texture may form, but does not affect the image appearance. Ink colors will not fade. As the package states, “What you print is what you get"!
2. Arrange the images so that they will print out on a standard 8 ½” x 11” (A4 size) page, leaving about ¼” (6mm) of white around each image and placing them at least 3/8” (7cm) from the edges of the paper. If you do not plan to print an entire page of images in one step, arrange them so that the bottom of images line up straight. This way, you can probably put it back into your printer tray, push it forward and run it through again to print additional images later on. TIP: Create a test tube bead and bake. Measure around the bead with a sewing tape measure to determine your image width.
4. With the transfer still on the backing layer, roll the transfer up into a tube about the same thickness as the clay rope, so that it curls naturally. This will aid in the transfer clinging to the clay. As you can see in this photo, the transfer is already beginning to release just from the curling of the paper. This is fine and shows you how easy the TranzFuze
paper will peel form the backing.
6. Wrap the transfer around the clay tube keeping it straight. If the edges do not quite meet, or overlap, re-roll the clay tube and secure the transfer in place. To make an even bead, place a small piece of acrylic sheet on the bead and roll it, keeping the acrylic sheet level. Trim off any excess clay from the ends of the bead with a slicing blade.
9. The beads are moisture proof as is, as they are sealed with the liquid clay. If you like a shiny surface (like I do), you can glaze your beads with any polymer friendly glaze, or you can sand a little and buff them. Be careful not to sand with a rough, low grit sand paper (400 is the roughest recommended). And, do not sand too much or you will reach the transfer layer and sand off the image itself.
Note: It may be obvious from our packaging, but
Tranz-Fuze works great on flat sheets of clay, as well as slightly domed clay cabochons. You can also cut your sealed images into any shape, using scissors...or believe it or not…craft punches! I have had success cutting and punching shapes from the transfers, both with or without the backing paper still on them, with crisp results.
If your transfer looks anything like this one, with cracks and a highly textured surface, it could mean a few different things:
Copyright © 2014 Shirley Rufener All Rights Reserved.
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Using Polymer Clay Molds to Create Clay Replicas
Watch this short YouTube Video to check out an easy way to get perfect castings from your polymer clay molds, then come on back to see my materials list and instructions below. I tried plastic, but didn't work, wrong type? I like packing tape (or just a thin acrylic block)!
*TIP: Do not try to press the clay into the mold to fill it with your fingers. Just "place" the clay in the mold and press lightly.
3. Place a piece of packing tape on the clay ball, sticky side down. It will not effect the clay....as long as you do not leave it there and forget about it. Ask me how I know?
5.Take the clay out of the freezer. While the clay is STILL ON THE TAPE, place it on a smooth ceramic tile and cut away the excess with a craft blade knife. This way it sticks and you can rotate the tape and clay making cutting easier. If you have any areas to cut out from the space between or inside the flowers or design shape, do this now I also like to smooth the cut edges gently with my finger or a clay tool at this point.
7. Remove clay from the freezer and allow it to warm up to room temperate for about 5 minutes. Add any surface powders etc. now, and then bake on a tile, as directed for your clay brand. Tip: you can antique your piece with paint after the clay cools to bring out the details as an alternative to using powders.
1. Spritz the clay mold and rim using an extra fine spray or spritzer bottle of water. Some people prefer to use a dry release such as cornstarch. Thsta works as well.
2. Roll a ball of clay that will be just large enough to fill the mold with just a little overflow over the edges. This can be cut off later. I try different ball sizes, measure with a circle template and write the size on the back of the clay mold with a permanent pen (Sharpie) to refer to later.
4. Press the clay into the mold firmly with the acrylic square, until it stops. You canrock the acrylic around if the clay does not wantt ot reach the edges of the mold easily. Remove the acrylic square. Lift a corner of the tape slowly and carefully, so it PULLS THE CLAY OUT with it. Place the clay, WITH THE TAPE still in place, into the freezer for 15 minutes, to firm up clay.
6. Place the clay with the tape back into the freezer for 10 minutes, to firm up the clay again. Remove form freezer. Holding the clay piece with one hand, slowly peel away the TAPE FROM THE CLAY with your other hand, NOT the 'clay form the tape' which can bend or distort it.
8. Optional: Add a hole or loop to the clay IF needed at this point. I did not as I will glue on a bail when it is finished (see project above).
**TECHNIQUE UPDATE: Lately I've been experimenting a little more...and I am just using the acrylic square (no packing tape) to press the raw clay FIRMLY into the baked clay mold. Then, flip the acrylic over and lift the mold a little all around the edges...then PEEL the clay MOLD from the raw clay. The raw clay has been sticking fine to the acrylic. I then CAREFULLY cut around the shape cutting extra clay off the edges with an Ex-Acto knife held at a 90o angle. Try not to press to hard as you will cut into the acrylic (ask me how I know?). The tiny scratches/cuts don't hurt as I try to always use the same side oft he sheet, but I try not to cut into it.**
*Check out "Mold & Moldables" my Facebook group for buying/selling silicone and clay molds. Just request to join us!
Mixed Media Textued Frame with Silver Leaf and Alcohol Ink
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Faux Ceramic Pendant
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