Anda di halaman 1dari 174


'POLYME,R €LAY o;;,~-W'"

MiHefiori Tec.hniqv,es


Millefiori Techniques


01 being 1I1e only one r n 'he house who goes '10 Ih grocery:s1Ore

for under,slonding Ilhol I do -'r c-ook. and hen cooking _ .. ~o, taking cere of I~-c and Zoe, Djtto end Ilhe horses, CH"Id Ihome ... fo doin9llculldry Q d ool:y $,hrinking a few hings ... or mc,king me laugh ... for many Irips fa and frnm Ihe lairport •.. for nev,SJ. never ,saying jfyou con'I" •. for making the fmpo&$~ble lpossible,

'For making me beh~ in pouibilmes. '.ShOaling bocks, unfloggingl supporl end encotHQgement. I ~h(Jnlc and dedloote this bcldk !o m nu~bond. \lemon Ezell. 'he bes Ilife par nef an one COllld ever have.

Love, D


:;Q~rf A!JQ!.l. -ooy 'oQmno, Rube., CosJ,Qneda.mgryllll~

Von A~11l fnlEuno anal. (lfld Sum I'le !-10m • wilihout

'~~lIld 00 no K~l~ IPofye!o,y.

- flO de lui 'and 'Q :i1 ad Dol1le~ To res Mane rei !WInd l\k:itQJkI'

~'C k~·. wlho hCl'ro shored Ike rhome croo Ihail' lmarl'SL To O~ljna A~!I1'1 Ida Qllcl Puuloj end Eugenh . e GmlH Dnd 50 ~lr.dly 'S)i,ltended ~he r rq:i~j,d!hlp n figrhJgol 10. AJ,;.ho . - and Y~iko O$oome. NUya~n CIInd I'ne Ni~!';hllll :e-;' ng IIlpa"', was, '0 dr&cim, coma uue, oJ) then s 10 you_ 0 S:epherl Sm 1 de!H Bib biend, For 500 lems a En to: opF!lIing. Ir hQlii'te ol'ld ma~mg ~ilr ~ome j'jiiI'i'h~ i]'if - ~ Cozz and O. kl ~ In\iitolion 01 i&.Qch cM:lsoy wlln

Cl'IJe1y oro III, Strli!SO.

~ ~mrgnd5 Karen 5rown. lonl, Alan Olrel MClrj, Oll.m.

Swc h Clr:!d Guy C hll~'lS:I1. 001 en!!' Citu . f" Cc~ n I Peg l_ c:r£ll HarpiH. kim KClnliga. Iri~ L.lJ!JYj Kathy WOOV~lH, and Joe i More Tool'I rv\emO!ia. Iss He 01 1M Beod

. ~rido ,iood, Nancy Sonda Orona, ,v,orv. Rho~dq.

Gall -0 ,he fOOIlII'ovs, rQilJl'some Brutya. IJI'. Pin 'y. Il,nd

~O .. Zomif, Peula, c Be To AM~ Mor!"'. Woes. and No 1 - - "v'klriMllko-son K')'Ckrxhcn. Cille! GaOtg .

. Sheilll cmd Bob MilfeJ;, iVicry Dnd Leo ro5s~er, joonr')e 011"'10 - -= nl', Bad; c'oo Gory Ver1lii[(,l'lJ,~mi F''!JkvshiIiillCl,r [) bbwand

• f\ lre!"'tB' Nt~hoJ4ler gro l,oo SeoU. 'DonnE.l I.c:,pez onid Eml

Gf~. Conrne Slte=rlll! end Ken '. Iham!., ~OI Nelson 1 Caroll HGSI. D!a Luhig. J'II! (me Tom Ker.skn • and O1hrus who nove a en !IJC, good CClfif!: 01 m-e os, ,"ye 'Irmre~ and IlJughl

To my good Wien~b end c:crl!lpodre~ I dloy end Ccufllvc'lis Judy Belcher! leslre Blockfom. lrn CO!l'ender; CQlhy JQhos.lon. S Kel!e')'. GaII·1 Ritdl~e Merla Del Pinlo. and JCc:qUeli!2,.9' LN. Ir,CH'Ik ~'OI.I fcn bsi,ne I~e go-lo 91"; who, wO{!ld,,'1 ~l'It:IW hQW 10' ler ~~fle down I:TfId Q~~ Siva 1,00 peft:eln1.

Speclallhan fo Ine mti.&ls/ rl,end~ wha oltowed I .... , WGfk '0 be

included' in Ih ~, book.. .

To MISiS Carol Duval, :Kelly E ~I,ch .• Koreq ThomQ:i, c d ~rv

O'Neil. mow mG over. b 1'111 _'ile nOli

Than 10]110' Joy '~oil~no, Looren 9-r0'l0'1n. Arela BI:l'k.. ood 'liiaryooe 01 'VlIa~rrJ3lJP"" 'rl\i be.';!1 bool pul:Msh~s. I~ Ihe workJ 1111.1<51 my QPIII'IIQn11-qrxl ,.lu'1dou~ili!d~ lhe mosl palfet'lt

To fflY mmi'~y, Mom. Alan and OW~". Tina ottd Hauy, (lAo! and Kc!thy. a"d mv oeph~ M'~c:~~11 Emrc, ACHOr'l, jorob. Sam ana J:o~hfer and cmly n~eca. lHan~h

To rrmt besl and oldesl fnends Bill Sf~v~rS!QI1B ~oftd Doid Lj'~ne~, and MoryPrcliol

F,or IInV good ifiends. ' ,kul this yegr--Ells,en Lorllng and Jeeque DuchOlflme.

And lirtolly. 'Ihank you fD 011 tny rudenls oori!: en eJ Clbrood w~o ~~o,v~ k:n"ghl m-e $0), ml!Jch melne rhon ~ could D\l6:)'r ~c:h you .

...... :1 ~,:
~. -.>!- ~
~ ,,,! j .\. t
t ~ r ~
, .$ ~i 0",
~ #.; 0/." R
'" ¥
" " 9
m ~
& 1
,. ~ ll'
"'" " ,8 INnODUC i I ON



IN 1994" I saw millefiori art fot the first time, in ~ 'Th't' Newelsy,., Before that time, I had play~d v.<i.' - _ i,~ m'any rimes, making Ioads of fim ,tlrlngs.., Bu,t when I ..

of such polymer-clay artists as Kathleen DustllJ" _ -_=_ Pier Voulkos, Sarah Shriver, and City Zen Cane a nev- _ - _ work began. Pieces by 'these artista 'altered the ve '_ -, -. PQlym,er day and its potential as an. art material. Pictu! __ ' _ you imagine that?

Looking back, I call see bow &r 'we: have come wi .

New techniques such 11$ the Skinner Blend, Nlike 13~_ ~~ chopping," and other innovations have improved our ~: - _ .. - amazing millefiori canes and to, make our pictal .., -canes have more :shading 'and more style>, and they- 1= :;""-0...--_ sophisticated than we ever dreamed of just ten ~ rea5 ~ _

. 'Ow I am bappy to share what I b3:VTe learned 3- - and. millefiori -techniques over the years in this- ne .. ~U"~

Po,lymer Clay .111illpori Tecb1'l.ip}'es,., It contains so.

pieces=-some made by me, .some made by . artists~ presented in simple ·st)ep-br"'~

graphs, Start at the begiooing and you II 500,

make great .millefiori canesl Beginnlag with.a ne'\'V mediumalwe ~~ _G;;_ :"....:......_ ... ~~~ upon question. It takes- time and ' '_ use all the bits of newly 'acquired ~- o~~- _

I began work on this book, I wane ~-: _..:;.. blanks and, also provide my readers -:.., ~ =

s,o:1ve problems on their own. I hope

offer a personalpolymer :cla:'r class fur;:{)i - ~

_ .. L, "J '~.I!!i ...J ._

reader, and that when you have taken e3,' _ '. w'a)S you'll share my' love of this incredible .ci;_~ - Nlille£iori is one of my favorite tethmqu' . enjoy this adventure into one @f the most e:" "in the polym,erclay repertoire,

ror LEFi: KATH l E EN DU sn N

Rit;h (:()/or eJfoct~ lire hillbnarR'S offul.~ad


Z~ petroglyp,hl ne"klat,8 was made - ~ the tiesi;f;rt,.and hei' ~ill,as (j,C/itIUt?illi=. :...

and 'wearable t()dtty.


Cristi no. is a talented' artist from, Portugal: In this pi.ece she incmpflf(l,tes ca:nes~ crystals, textzercJ Wi1:(!,~ and' riet to 'fm:l'k~ a dh'1matie statemens.




on't be :afraid of polymer clayl I havre never met anyone who has enjoyed immediate success with the nleruum-trilal and error are part of the process 'of discovery, The fonowing pages: will give you a basic understanding of polymer clay, from how to choose it to how to use it, Here are explanations of the different brands of clay, descriptions of tools, and materials 'you need to. work with polymer c~ay; information 011 how to pr~pare the clay fOfwork" and directions .0(1 curing your pieces .


Once you understand the' basics and try working -

with the clay using basic techniques~ success is sure to; follow with piece after bea~tift11 piece. Enjoy your newfound talent!


A'LL E'RANDS OFPOLYlVIER CLAYS aremanmade m'Gdeling marerials composed of the' same basic building materials: gels, fin,eTs~, pbstjci'?>ell"S, coloring :a.gents, and resins. When combined these ingredients yield, pIQlymer.' clay.

'tVith sdiJe, Ernoipean regulations appJied to materials deemed !to:ys" and recent passage of safety legisb:ti:Q,n in California, several polymer clay companies have recently reformulated their polymer days. The, ingredients that caused the concern-e-phthlares=-hsve been removed by Van Aken (Kate Polyday) and Eberhard Faber (Filno).As of this writing, Poly€o,rID has not reformulated its SculpgtlPremo brsnds.

The new formulations Ina}~ differ from their phthlate versions in some 'ways~but they remain poillyrnel" clays working and pedorming as rheyalw'ays, have, You may find ·one brand softer than it used to be, or the -cU!ring temperature might not be the same; but f.sselltiiJI)'i, they are still ovencured modelingmate:tials-polyme;r clays ..

Unlike earth clays, po,lymer cl~y.s areplroduc1ed in a great range of~~loI's that may be mixed to create a custom color palette, All brands can be :m.U..'"ed together, ahhoug(h tlae wisdom of m"aking such mixtures depends on how tb.,ey will 'be used. For example, .if yo,u are 'sculpting: and wish to strengthen one brand or improve on its ble nding characteristics" you can freely mix brands with no resulting illeffectIn the. case of millefiori caning'; it 1s generally best to use', one brand or the same mixture only in leach cane. made. Prior to lrrUxing largeamounts of different brands, i is. wise' to mix a small sample first.

Brulging , pol}'lner clay to its permanent hardened state requires exposure: to te:mp eratures .from 2~30° to .3250\ Fahre11heit, depending Of) the-specific brand, Once cured, the "clli'ay ist1lxedJ.j:~dlat is); it ,~(ill not return tOI its original sofe state, The period of time when the day iswarm out of the oven is its most fragile state (in most 'brands)" and it is at this time that pieces 'are. most likely to break 'when handled. Sooliey m, Premo, Fimc, and Fim~ 80ft should be.

:allo\ved to 00.0,1 completely 'be£o'l~ hal'1illing,. Ka.toPo~ycl~y can be. h-andled\ and even reshaped 'to, some degree when warm with no breal~age or cracking. 'G~n.erally speaking, clay is less likely '[0 breakifyou wait until after it has. cooled to handle it.

-4ll cla;ys InUS! be conditiened, There is some c,i,)ntrovctsy about the importance of conditioning, but I have found that in order to achieve maximum strength, and tbe-nstrongest piece-to-pieceadhesion, pOll:ditioning is a must .. Simply pU'E, condi-


.ta,~~~$ wh~·:FJu.i'{ll d«k~ design'eti to raise (Z'lI.!Wf'tJlUJf! 'o/,6rel.l'S.t can.ce1~ fio.tu~r'l1!. Skinner Blen.rile.tlfJes.

::'_:linglS the act of restoring the day to a, state dose to its original factory-mixed z; mnon. Conditioning may be accomplished by kneading and lnixing the clay -=- hand, or '~y foIling the cl~y repeaeedly, 'then folding and rolling it through 'a, ~s.:a machine until it is soft and pliable. The pasta-machine method is prefer~:e as kneading may introduce air pockets into the ,d'ay.

The easiest day to condition is: Sculpey llI" followed by Premo, then Kato ~ :~ Telay and. Fimo Soft" then Fimo, the most difficult The ease of conditioning - mld not be the primary criteria used when selecting a. brand of day, as the siest '~O condition ma,y also be the weakest or the most diffic:ult to handle and rk wi rh.

Polymer clays are subject to change with prolonged exposure to temperatures

-: 90°F or higher., But even at cooler temperatureapolymer clay will naturally zdeance," or change over time. Advancing makes the day stiffer, as ingredients _:... -',1'":_ toward their original w-et or dry states. Stored at cool temperatures and -=:,;\-ay:ttom direct sunligl]t~1 po~ynler daywill1ast fOil years.


1 call ,tbis mp Cha-Cha Bracelet. It's quite simple" just sli(;(1'$ r:.ttt:,frtJm rJ, large ,ane~ .shaped, ,ci?ille~ cUid s t-rung.


This Zuni bear !eat.ures t:anes artfully l1.1'f(mge-d ,by the' late (J"rtist Eilee-n' L tiring:



81mple t{}()is btcome so m.uch' ti1(fre intel'4hng with milltji(JJi-corve1'2d handler.

Th" h I~{" • 'II s: he ti ,., 1- .' ,...'!Il.. ..:.1.

'lie p irase open time reters "to tt e nme In w ncn ole

clay remains sott and pliable after conditioning. Certain clay brands "cool down") more' .rapidly than o,thers and might require reconditioning, as you work, t seems' there is a telati!Ollship betweenthe ease of conditioni ng and open tim e." since the easiest daJfs to condition seem to' have the longest open time. Fimo is the exoeption because it is the mOist diffi,;ul~ to condition:, 'but it has "a fairly ~ong open time befo([,e".it needs; reconditioning:. Reconditioning yOll!' 'canes nlaybe llfqu'tt~edjfth.ey·sit for long periods of time. They can 'be restored bY' exerting preseurecn the sides of the c me working g:ently un til the cane fsels soft all the '~ythxo",g~. D:epending on the brand, very old . canes may become dry and break when 'Cut, making, reeonditioning a neces,sity.

Clays differ in terms of strength and .nexibility aft:er curing,. Although Scu~pey III might 'be the easiest to conditi:on't is "als.o themost brittle' and the weakest ofthe days. In myexperience.Premo is both weak and .s;trong', as certain colors are very durable while others 'ate brittle, and e:asily broken. Fimo So'£t: is strong 'when newly cured but t over time, becomes more brittle, Fime is a very strong ,clay that maintains its stren~l,,- over time. The most durable oftnese

. ,~~

(::ia;y b:rands is. Kato Polycla.y; which can be repeatedly bent

without cl'a:dcli1g and does: not tear. The stronger ,the da~' the thinner you 'ma;y cut slices: to be baked as they are,

The degree. 0'£ flexibility of cured clay djff-e~ .from ~f'and eo brand. The :dgidity of cured clay' increases with, increased day thickness. I'd suggest trying them all and deciding for yourse1fwhicb clay best suits your needs. Many polymer day arti.sts use a range of brands, s:e1ectrung a particular brand: fora specific purpose.

As they are polymers,) you'll want 'to avoid chemical reacdons that might occur when the clay 1:S exposed to. other polymera If'you dr'Q.P' raw! clay on your carper and leave it: there" yO'II:1. might find it melting into your carped If youwoik. 011 fine furninu'e" you might find raw clay melting into the finish, ruining it. Tike proper precautions to protect surfaces .. ,

In the same way, application of 'certain glszes to a cured item. ,may actually create a ch:flJrnic:il reaction between glaze and clay. Should, this occur; the glaze won't ru1' Or harden, ;aD,d your work will eventually dissolve' into a :sticky mess .. This' reaction usually take's about a week 'to reveal iuelf~, SOl

~l" ~ b - 1 ber s . .' 1 b

·wi jeure Ul1,SLJtre a; out' whether a reaenon lTI1:g,,1.t cecur be

patient and test a piece first before glazing all your work.

_,;_ its raw state, .polymer cL1.y will a,dht'lre to j!tse1f~ ,rni;king it unnecessary to -'" specialadhesive agents to join pieces., Firm but gentle pTe-ssurewill do the .. bo,ndlng occurs by curing, The bond between raw to cured day can be ... ngthene.d by brusbi~g 9l thin .layer of liquidpolymer ,day at thesite where the clays' will be joined.

_llibough polYlDter day may be cured many rimes you might find that color i : '"ling (lOr dlange) ,may OCC1J_t,. depending on the brand of ,day you ate using. If ~ - brand is prone to color shift, you may need to use foil to shield parts that have ~ pre-vi,ousty cured .

. Certain brands are more 'prone [0 this color change from raw to cured state, me shifting as many as three shades} the colors darkening. 'Brands· that shift ,~ least-are Kato Pblyday (most Kato Polliyclay Dolors do not change at all) '3.Dd Fimo mnd Firno S:o.ft~ which change :minimilly, If you use 'a day brand whose colors are subject to radical cllJ'Uls'e" you'll wantto experiment with adding white ll':'Ually) to compensate for this characteristic color change,

'¥hilt polymer clay 'win adh·er~ '~o· itself: certain polyro1er clay desi,gns that nave minimal clay-to-clay contact rnay still require the use of a structuralarmazure such as truck V\rne.

lI?9'lym,e£ clay does not bond permanently to anything but itself: FOot that reason if your design incorporates metal objects, such. as metal clay, bear in mind that these dements must be glued in place attar curing with two-part epa:>"..:}' or some other strong glue.

Because of the low !curing temperatures for polymer' clay a great many exis ting items may be covered with ,clay; then cured in the oven, Glass, ceramic, papier-macl1.e, and many plastics may be cured in. the oven, Covering pens is a \.ery popular project, but not all pens will survive the cw:ing process. Clear, hard


Ht11-e' is ,{1, ,h'ig btail lIJiy~g R1~c!Jtl:ni 1 .ri:g'1,14tu"'~' ('aneJ eye6'all..

mo'N: SARAH (HINEN Sarr.zb isa .talmud arm!

from Hawaii; Lloo« het! use r;_fuJior tl1'ld patten"!. in thes,epi.eces.



SHARON OHlHOR51 Frir t!tsepit,tcs~ Sbm'fFjf med ,(;{f~'~ s,l;tc;s to CYnlU r,~(}tl eggs. Tilt, shaft of an ,l,1gg '~i(1,/2,'IS it nrC,fJ'SSaf-Y' to I~ithefrndll€e faner (JJ' lrim ltrrf' (;{lIlfJ slicts m you Cfm.'er tAt! m'l.ds.

ph.Slic such as the inexpensive is it; Round, Stie ''Will melt in the oven, while p'cns such as, the Paper NIa:IJe Ftex:Gri,p' handle tile curif1l:g te:mpetamre quite, uicdy, vrldl no. res,u[iti:ng warpimg Of shrinkage, Once' again, ,experimentation is recornmended beforeyou in·veS[ time and. energy a:ea.'t.:ing' the perfect polymer clay pen. IfytnlreUlliSlJJ]! if a pen mary be sneiy covered, simplly remove the iI':Wk cartridge and bake the faupty pen case for een :miouoes itt 'the reco,mmended cur.irng temrem'tm1e fOlrthe po:lymel: cl~y youaDe usiug. Ifyo11 are covering an objeet ~t is O,O'~ :rigid (paipie~-miclle!, for insi[lli.rn:el) you should use :I c1'1y tbat 1I\rill '\f'.l'ithstand :flexing 'Without br,eakin:g-Sculp~! IDwould not be a good choice as it is 'britlrle and will break ifthe £Qi.rm 'beneath 8,exes ..

GhBi;ss "Will, ofcourse, be "Ilnaff"ected by' 'I.'he low C'1.1:fing temperatures used fOif poly:m1cr day,. ana YO,lil will find that cL'iY :stiCb eaaily to its srnooth, llrit=<turcd surface .. B,eal in mind 'that clay and glass do IlJot form a penllanen:tbol1!ol" ~!O if YOiIJ:" for le:xa:mp~,e~, pr,ess a! cane slkJ€ to a wine glass and bili~, the piece 'will not be p'e.rlluu1endy It~ched., Fora las'c~tlg bond" ,rem,ove the pieceaftercurin,g allclgLue it back on wid'! an a.dhesmve 'Such :15 E-6000 (a silicone-based glue) ormro-parf epoxy. Tbe best technique is (0 uap ,tbe ooven~d hem. in day-for example, cOlllpletely oo,ve:r a vo:rive ca:-ndJ\el'ul~der whose sides curve QilJt &am a sm.a:u~l'diame~er bo:ttom~ then curve in tOR stnaDer.-ditUn,e:~el' op,enhiJg.

Cuverin:g .2 P'OfOUS Oi[ ~extured piece, wit]:w day mqrulies~h.e apiplication of a sealer befoioo aov,eringthe o12lj,ect vridl cllY, I'v;e used some h,eat-'s,et paints forrhis purpose, IOl)'OU .roay use PVA g~;[le orSobo glue or even 3, coat ofliQ:uid cia-y' (cure it before adding clay eJem:cllfs)". V\food CM be difficrutto cover even ""ilen a sealer h.~s been applied. The best wood fonns,,'\'Ie:ry fine .... ,gnined ~n.d free of knots, are

iIom Walnut Hollow Wood is porous,. so when heated, 1.,expands: and may create cracks in curi:ng cla;y 0.0 its surface,

The most difficult parr ofcoveringmost existing forms ., doing' so' without creating air pockets between the item and the day. When 'air pockets are heated, the: air expands and the offensiw air .pock:et enlarges, causing cracking and , latrlage. TQ avoid this, carefiilly inspect anything J iOU. cover

with clay prior to curlng. If you see anair pock~t, press 'the

ubble tothe nearest ,opening and expel theair, When] "'lap a·form witha sheet. I 'gendy stretch 'me clay as I wrap" and ibis seems: to' help quite 11 bit.

The presence. of air pockets in solid clay items; such a$ beads can cause cracks, so it is importantto expel ail' from base clay (the clay that Forms the core of the beads-before

mbellishing). Should, you find a crack in the cured bead, :·'DU may heal the crack by pressing (while the day is still \va:ml) the sides ofthe crack together' until the bead is: cool or by plunging the hot bead into ice waterwhile pressing the Cl·,ck close,d.Artist Leslie Blackford recommends

~ rapping a. cracked piece in a 'to,V\rel and allowing it to cool very gradually,

Cured items \'Vill exhibit matte, satin, oreven S.hil1Y :6nishe.s.} depending on the brand you. ire usmg. Semper D.I is the most matte; Premo, Fimo, and Fimo Soft cure to a satin-type sheen; and lCa:toPolyclay takes en a shinier appearance, If you wish to matte the finish ofKa,toBo~yclruy" snnpJ:yrub thewarm item with a "'ofct'owel" or dust the I~W item with cornstarch, or even cure the piece buried in ccmetarch. For an. extremely matte black finisb), sand I(at'O Pelyclay mlh coarse sandpaper (150 or 200 ,_gr-it)" theneither return the piece to, the oven for five' minutes Of' heat the sanded surface with a heat gun ..

Interior armatures should. be used when. clay walls 'EXlce,ed 1 inch thick or if

)"OU are malting verv largebeads or figllres. Most cemmonly used materials are vire and compressed full) bur I know of people who. use burned-out 1ig~btbulbs and other such. items fOJt this p'urpO::N=~ ~,e:aving' the armatures within 'the piece, .Armatures of thi~ sort will ensure complete curing of cla.y~ will decrease the amount 'Of day required, will lighten the ,~eight of the finished piece t, ~and. in figures. and sculptures, can 'make the piece more structurally sound,

:BARBAIRA SPERLING Bar(mr{J' is a mssteJ',,,p1.fJr ,nuiop1;ist, Look ,at these am{l;zi ng beron: eC!mngs;,


These OJnrmi:l1g r:tllU!.':' show J\da·ryL.ut skill t11ul sense ofhlJ1n()~"_






As, YQU 'n 'DISCOVERED :polymer lay brrulds di 'eJ: in a g:veat manJ'w~fS. Tr. - 'them, an and decide which brand wo,rks best for your applica.ti.o1m. Do! you live ~ n a warm clhf1a;~ sor 0001" do you have ho bands or ,cold? These may 'be factors in yoU( choi:ce of polymer clay. L,e'es lo(),k at some brands and see bow 'they ,compare to, Kate Polyclay~

The newest brand. of poljmer ,clay:; Ka;to Pblycl~yj, is, the fu:s· polymer clay d.esigned by an arist fo,r' artis-ts and is the result of a eollaJbo\l:artion between Van Aken International! and me, We manufacture in 'Ran:ch,o Cucamoaga, C'aliforo:il9l.

Afte', discussing the charac - risties \Ire wished to have in our cl3;f; 'tOll Aquino and Van Ak,ell vice president Robert Augur fOtOlull1.'ted [(afO PotyCbly~ . , any Orf tb,- other brands, Kato. Po,l-day is vacuum extruded' this process, removes most bothersome air pockets in 'me d'3".

= ~

Like other brands Kate Polycl~)! can he mixed to' create new colors, Tile day

comes io just seventeen colors plus four COllo.r CClu.ce:n[~ates,: red, "eDow,green and blu~ .. Designed within the line are true complementary colors.whlch make it possible to! mix virtu..Wly lOy oolo,r. Kate Pb,iyclay is sokl in2 .. ounc-e mnd 12 .. 5 -ounee bars, l a.t.o Polyclay CUJ:if5 from .275 to 32ST. .. GeneraU.y" I cure roy pieces at 300"1\. rcducin~lcuringrime 'b1 half. AU of the pieo s and projects in this book are 'made of Kato Poly-day.

For two years ,] consulted OD and marketed Firno and Fimc SO£'I: iCiliays, in the U~· _ ~ market, working with Eberhard Faber GmE,.- Amaeo and eeent Import, Like ~an . ken.,tbese fine companies produce their clay in a 'fe'rf controlled environment tOl,er-y ti.,ghr specifications, Their 0' iginal clay, Fimo, was Introduced to the U.S. approximatcly th; J'ty yearcS ago, Firno Soft was formu1~'fli:e,d. to address the ,conditioning comments of pol}mer cla users. Fimo· of colors .are

10 . i1I... ..J I . b d 'I!... ~~ .. 11- ~ beeel · '1

irlg1~t ana ciear out .lo shitt more tnan .r uno" as I ecoters aide set in at translu-

eenr base, Fimo rutd Pima I·>,oft now carty recommended temperatures of 230QF~

KPC anti FiflU)' are j'llsl.: ftWf; if a-'Widt'VQn~ty' tJf polymeF cJllJ bm'n'dr,.

1_Q02; there -w;a'$ only one Ame.rican manufacturer of

-==- clay: Pelyform Products Co .. , 'The brands they tutl':entl-:y

- ._. are. Sculpey' (alse marketed under the Polyform brand

~...:...- .,·upet Seulpej; Sculpey 111, Premo Sculpej, and severa] -: clays. Sculpey m"is,sold in 2-0nDCf bars .. Premo $,culpey is

iL_ i-ounce. and l~pou:nd bars" Sculp'ey/l~olyform is sold in illk packages .. Pblyform clays cure at 275°F.

- zereare other brands suchas C!ernit.J\lIodello ~onnello., and _ ~_ .. Therm, but thev are more difficult I~O locate in the U.s..

u .1'

~_=-.- and I have 110· experience with, their characteristics ..


R~epel 'Gel prevents cLay (110m sticlcing to ·othel clay. Fotrnwa'ted by TOllY .Aquino, Repel Gd .is an ,effectiv,e: resist either wet or dry~ Be,cause; it is applied as a get by finger or hy ~[u$h, it is .easy to target specific areas w'bet-e claY' .. to-clay adhesion isunwanred, Mterthc item bRS been cured, simply wash off the: Repel Gel with waeer,


-= Clear Medium is almostcrystal clearwhen . t is cured at 325~F. erms .of consistency it is thinner 'than Liquid Sculpe.y; and so it .I!" ·prone to '~roubmesome rut bubbles. Kato Clear Mediusn is also

~"_'''---'-- to sand than Liquid Sculpey Wl~en cured at high heat

__ en 320 and approximately 340~F). the surface of Kate 'Clear

: - _ UID: takes on a high glo'ssan.d reaches glasslike clari~

- -tf·oduced by Eberhard FabeI~ Liquid Fimois the newest of the

--:. __ d polymer clays .. Of all the liquid polymers, it begins as the

_ ........ , .. transparent. Cured Fimo Gel is rubbery, aking it the most. ~~· ... ult to sand,

The first ofthese (po][yml~r -clays in a bottle" caine from Poly£orm

- " - ducts, Liquid Seulpey is thick and 1nilq .. After curing, it does

- ear but of aJ1 brands, it is the least transparent ..

... All of the liqllid pelymers work in basically the same way and. can. be used in the same techniques. An will transfer inkjet images aad may be' tinted, 'With oil pamts ,mica pigment powders, and solvent-based . nks such as Tim I-Loltz)s Alcohol Inks (firom Ranger Industries) and Pinata inks (rnanufactured by.J acquard),

With respect to use' in caning, liquid clay u1ay 'be used. to soften bald. claysl if necessary. For onlay-ofcaned elements, a !light application bernree:n._eith~ a raw' or 'cured base and the cane to beappliedwifl improv.e the stren -, .of th€i·'bond ..


Kair;1 Cleo.'J' was appJie:d to ensure that .the' ,can,ed' clfJlMn.t'£ .in .this piecc~ _ \eslie)s Blackbird Goea to Hawaii, were'. held s . "cu77J~1 in p,lac,e.

BOn:CJi"w. Ka,to Lirprid P:Oiyclay mil Repel Gel are :ets.ifiLi in mttl1y appl;,tdion.s~







:SOl\ilE 'TOQrLS 1 rega-rrd as essential! ,'while others are ronlyus:ed incidentally in my work, Very few tools ~ re required for millefiori canes,

P · furni r-' 11 b ,.

rotecnag your ; ~-r,ruturre I.S 0' . paramoun,'t 'LOilport:ance $,0 )',o'U . w'ant to- legm,

\vith: a good wOlrk.$urface. The work surface I use most i a Forml,ea sink bole-that is. 'the hole 'tu,t ouref at countertop. Its '~igbdy k.Xrored sutfa.ce allows me to lift even the thinnest shee'tmrho'Ut risk of tea:dng or ·stl'e'tching [be sheet,

There are times ,""OU might \1 rant your day to stick to the work surface, Athese times YO'l.I, migbt use' at pane of tempered glass; or a ceramic tilt:" Anotil,er goo,d all-around OP'riOD isan acrylic board (lighlltweiglfi't and perfect for 'uav:e1). Wben teaching small ceramic tiles, index cards, 0,[ manila '60,iders are easy- o~ obtain work su:rfa.ces Co'I your students,


[think nl}' most valuable tool,r nat to n1f hands, is 'my pasta machine, ',iVith it, I condstion my cllYi make Skinner Blends, and roll out uniform sheers 'of day_ (This'rjlpe fpasra machine should '[lot be confused with the machines mat mix

d ... ,'~,-- .~) T-'t ~ l' b ~._~ .. .JI f .. L 'L, d k -~ '., 'II<. it -.~' ~,;,-'

an maxe past'a~ nere are seve-raJ li1UJ.YS e _ mese nane-eram macnmese Jl\fJtawJuS,

,,:das.~ At Dente, Imperiall Pasta Q!leen. Pasta machines have thickness setti:~~. '~,.'tbsandlli[dmll's, machines begin with 1 (thickest) and go' up teD 6, to9 (thinnest), The other pa,s,ta machines sometimes bave settings thaeare just the opposite, with 1 being the thinnast and higher numbers l'tfplicsenting thicker s-ertirtgs,.

P_ sm. machines ajl·· nat made fur polymer day use'they are of Icoutse made 'to roll Sllee'ts: of pasta. Clay is sti:ffe:r and firmer thar pasta, and 'so when weroll ,day througb these machines we are ubjectiin,g the machines 't-o greater stress, man :thqw,ere meanr to wi'E'hstand,. FOl this: reason, be kind to your machine and roll sheets, of clay through that are already dose to the' thickness setting" rather than fo,rcing very '[hick slabs 0' r ctay through radically thinner setting,s.

It is p,ossiblc to. disassemble and clean the machines hut 1 do mot fr-equentiy do so, I do"hcrweVler, rake IDly machlne apart' at least once to remove the top platres~, because they are pot essential to machine function. Do lli)t r21'UWe t/)ej'()tto1fl, sa-aper plat-es. After the 'top plates are au' ,of tlae waYi it is pos s.ible ;[0 gently remove clay '£bat b s coUe,cted" To, prevent dmnagmg the plates, )!'OU

Ceramit files. 0 glllSS jhtet~ a mtJ.,.I;I~"! tite; {lIn if lee.Sl rCitin nrllll~ a good iWD'r::k twjtlCll. ,Ulf! '(1' mtiber ,'lmrl t.mtin'IMn:th' to holi ,tiJ.l flJrflt:t i"place.

,~"..,.,.'-.. ... .. iser 1_ ametal tioo] (such a a needle tool)

remove day from be'ItW\OOD. the I10Uers and ~-,;:.., - stead, use I bamboo s'kew1cr for this ~ .. and carefully ,easmg the 'Chly out, Once ;. '~ has been removed, 1'0,]] light-oo,lored rough rhe machine top.ick up 3-ny ~ - - :, of clay. The surfaces 0 ,-: the rollers may he

-~- ...... _ ,- ress~g an alcohol-saturated paper towel or on jhern is you crank the machine. "1ping of, he lower plates also helps mini- - -, . ination from ,clay 'that has been rolled ~ . ·~Oillsly.

_ - pasta machine, I ve conneceed a pasta_,_.,,;,.,- ,__ motor, Tbis motor makes it possible for me "1.01 - hands, to handle my dwy as it is fed "111:0 and out

-_ machine. Recently I added a foot pedal, :80 now I

- :vel) have to turn thepasts-maehine ''DO'tOE on, and.

hand---just a pl'e . of the pedal and ;-f'ie maehln ,~,' rollers "tart turning. are. several brands of meters, I use both the " la'[riris ICla-9 and ,Atlas motors. . iic rods are also used to flatten and ,OQ,mpl)es:s d:ay' for conditioning, eo - cane slices, and to smooth th, surfaces 0' items you are' 'working OIL The are sold ill most craft" art supply, and bobby stores. Thick double-peinted

::rinD' needles are also excellent smoothing t00115. 'When smoothing the surface - ailed piece, use a. rolling mo,tion~ha is· ron the rod back and forth~ r tbnn a "scraping" mo,tion th~l't 'might smear the sorl"mce of the ,cane. dledacryli . brayers are also useful £01 smoorhine surfaces and fC'T instances

•• _ :c' you might want to, square the, of ,3 square or rectangular can" lor ~


ce r.

utting and slicing clay can be done with acraf kniFec, but ", better optq>JllS " o~y'mer dla, blade 'eu;, for small CalleS I a single-e d,ged razor blade" - _ _lor t(i the eduction of polymer day blades, the 'blade 1110St used was, a medh:a1ti.ssue:='- in,g blade. This blade is 4 inches long, sharp and flexible. The, stiffer K- to . ublade, 6 inches long" was, introduced to the polymer ,clay community b Prairie 'Cl11ft Co., and. has gained ,~de acceptance lmon,gpolliymer Ida1y artists, Although this blad -' is more l,') i DO less, harp. The increased rigidity makes i,t essie 'to cut and slice "Wro,'ugrb laEge blocks er canes withmlairnal rque and. twisting, The: Kato ,.!'ufiex. lade is also, 6 inches tong but it is, less

K"itt-in:g ?lellt/les aery/it l"Otht tbe Pro Ciu1' roOer fw~~th nl'lbe1' ,enet' rirngs),

a Jj~"ll}·ta'JI of fhtf,'se wols ,a:rc' usefill f(IT' !;yitJg polypner dSJ &tn~ej.

rigid, more like the iwigin.m1 tissue blade "rim tIl - addition '0'; 2. Inches 't,OI rts lengtb~ The i{aIVCI' T' 'Bl3Jde is, comparable te the tissue blad , but, like the uflex Blade I is made of stainless steel,

Extreme caution should be taken ,,,hen t~sil1g any blades of this, sort, Th,tse lilade:i are intmded for tee by adu.lts only and should n·(Jv)'8T h 'gt'v"tll to t:hildrnl. WheJ I ~sitng these

blades, the most important rule is to 1001 at

..:L 'b"'~d b e . • _1._:~. Al '"d'

tne ma _ ,e .:_ erore p'l~lg it Uf" wa.ys· fll"Uom,-

_pIa,eng your fingers 00 my ed.g~ of the blade, sharp ordull: rather graspdJ.e sides, 00'- -he blade and cut down., In all my years working with these blades. I have never cut rnyse1lf 'With. them, B,(;' careful, and you will s:tay safe, roo.

he lCato NIarxit is a. tool I designed and, with my husband') Vernon, brou 'ht eo marker, It is Q six~'sided ruler. each, side measuring diffeJrient increment in

"Dim" . T'~ id ~ d- hen ther l'

nul. r eters, _. ne rJ ges are raise ~ " so w.' en t~'l.e 'too 15

p:res;sed no the side of a cane 'or pressl d to 3. sheet ofda. . the measurements are 'ttans£el'red illttJ, 'the. clay. Aatorog its; manlf uses, th,e Ksro l{aai' makes it' ,easy to cut cane sikes, of unifoemthiekness,

Rulers minllnize waste, pnrrticula:rly ill C'd.uing:. When m.2!lring canes, you mn find ma,~ly cases 'in: lwltkh 'I cane will be divided. rhen reassembled, Nine: times out of "len. unless; you 'have a very good eytt, you may think you hlVI(! cut them ,ex;acrl} in bal.l;, only to discover that one h,3'~f is longer '[han the other, This; meaas you ba"e 'Vlrasted, 5,.OMe of the ,original can o'

J 'u:sually make be-ad holes befo~e I bake I S'O I ba\yc' n1any needle tools, ,of various bore sizes. The Kemper Pro Tbol is an excellent basicneedle tool, Ir is inexpeesive &'lld !vNlable at most cr ft and hobb :5' JOres. jlhe nee le is: in. a thin metal handle and protmdes out Il)f the handle per,feed)' straight v,cry-nnportarn: for t~d~rill i ,t g)) bead holes, I also use bamboo, skewers, 'You-may also make y01.U own needl ' tools by inserting Idle eye of a carpet or don needle. into a mass 0'£ raw Icla.y:, then baking"

There are instances when 'ou win want -,'0 drill holes

. ,

into your pieces af[er curing" This, tas.k will be m,a.desimpler

by fust driHi ng a fine pilot hole b efo,[,e the piecI6 is cured. This pilot hole -will·guide -he bl't ,through the cured day.

The Kll10 M'arril: 11leaJ.1n'f:rr~,. lool ,and special polymer .tIay 'lliri:ng ./)Jadej ,tlt'I! mifUl

Oraft knives of'surgical jc(l/pels mde it easy to ,ga clea12~ut slices jhn1t (J. cane.

~ -before drillingt eIimimltes distr01'ted shape or damage tQ· the piece ..

,._..,__"'_.::;_ into cured day) I use a hand. drill (pin vise) ~·nd even drill bits.

d makers drill their bead holes following curing, especially if they ax-e ----~ ~ large quantity of beads .. The electric Diemel tool is commonly used, _,_""""'''-:o irs own drill press. Before curing, it is helpful to pierce the raw bead - :--:_oe you willwant ito drill the hole or make a pilot: hole In theraw cla~ _ ieve a high sh.lel~·n on finished pieces. y01'1111 need several grits ofwet/ dJ:y -~_+-_' ....... '-"',~ To matte your finished pieces, you'D want coarse-grit sarrdpapers Or

---~-..:;:.: blocks a.r.uj c\.ishwa.shing·scrubbies (c.oars€ green and the finerwhite) to

~~ clay pieces.

~1Oa.Crf1ate (CA) glue··bonds almost instantly with po;lyrner clay and is. what secureBuna Gord to myjew,elry .. It is also used to glue pin backs to, pieces,

=.:-e arem__any brands of CA .. glues, My prererl'eld brands are my O,N-O,.,. Karo ~~ Dine is; 'black. and flexible, while 'the other is odorlessand does not fog the ~ -_ ~ of the :cla;y. Oth~r suitable ,glnes include two-pert epoxies and siliconetypesl - ~ PYA and IGOO~ 'The polymer' elayartist Jacqueline Lee favors. Hypo ..... '__·:-ent for mosf of ber :after~curing glue needs, PYA glues are used 'to prepare

.. surfaces. before covering with clay.


Choose thc right glue. fl:/" ihl! application,.



'T"t. "I A .l." , t ~'j •

J. f;l:C.l'l1'J.RliuU vihmlll:8'

CI4J E~tr:'ultl' l«Jtn'Cl wtth

fitted ,flub tlmt /It C1'tJf'len t:tfFnd~ ,clay in a wiail t;GnU qj sJJ:,a-p~:s ,(ina' l'iz~

Sh(Jp~i mtlers ,t12'J1 h~ me.fW for ,,,tiling' csne slices:,.

Designed ]by Sne :and iGl,re Lee. 'Ptlly..:Toois Bead RoUers funn pettecdy sbaped and u,niformclay beads, 'R,(}ur.ld,. ovai), bico:nes,~ and other :s:.lla'pes may he. made when the Pio~r.,.Took :S}''St'ems are used. Rods of day' may be pressed lrno, the pOmYiCti'bonat:e bead rollers "to create 'per:,f~ttlywunded tiles £Cl'l~ b1\'S!cele~5 .. Sue and be:l~ busband, G;ale~, have also design,Cld at)!, in8eruou;s bead-bakiag sy:s,terti~ the PI'OI Bead Rack. Ra:ft' cla)f beads are threaded onto. pins. The phu arc then placed innotcbes: in, 'the Iltl'mi.nltm. baking rack,

/' gun is I eeded tor the Klimt cane and for other mill~efior' canes, My _~, .... , .......... ,- .... , i the MaJdds IClay clay extrude!" 'TIus ,gun self-cleans with at. rubber _ ,- -~ attached to the screw-in plunger, The screwmakes extruding even stiff _ a sirnple task .. , 1~Q use, select a disk (made fr'Om stainless, steel) and screw it lace. Soften and roll a cylinder of clay and drop it in, the barrel, Screw the :::.._::a~r back onto the barrel and turn the screw to extrude the clay.

- find shape cutters can he ,3: real timesaver; they make simple work of m~y _-~. Kempermanufactures a comprehensive line of small metal cutters (star: uare, round, leaf~posy~ 'and heart) in many sizes, and all with built-in plu:ngers - ek-pe1lcl~y. Open-backed metal cookie cutters are an mcxpensive option and 5 ely available, Plastic cutters such, as those manufactured by Wilton work well ·~th polyn1'er clay. 'But be carefull 1 have seme plastic cutters from Japan that I must d~;fU1J after each use, If I don't, a chemical reaction occurs and my cutters start to meltl

I ItlOS1t frequently use my set of'graduated circle and IOVal cutters, and a set of cutters in various simple g'eQ,metric shapes that are particularly tan. The vahie of the circle and oval eu tiers is obvious, while the tall ~c~ltters are' used fo!: ~onstr.ltcting smallboxes. Ifyou want to round the. cat@s of the. clay, use: artist Cathyjehnstone tip: Place a sheet ofplasticwrap ,Q? the day sheet. Cut thlXlUgb the plastic and the clay., Remove the plastic I :and yoila-. tl\,e shape will be rounded at the edges,

For slicing, Vale'l,e Waters and K,athy Shield (VruKat Designs) have introduced their Precise-a ... Slice cane sHeer. This compact aerylic tool hasa backing block that holds one end ofa cane ;steady. The sliding increment bar can be Jocke'd and unlocked. One end of the tool features a 90~degn~e Icutting face,

.~ . led .

while the other features a 45'..;degree angle Icutting- face.

The 6'Ompaet Praise-aSlice makes it fa"£] to ad 'nea/; cane

fOl VMEf.! C ~y fOOLS AND MAl ER~A LS 2,5.

Cli-e,ate 1m/all;, 1~,r:l.twit.h"fram t'Vt ta righ,t~ losd ef)tJ"plJ-~:Jion leaf; ibeDt tom,fJtjtir;n Jetif,rJ'11d 1n~ttzl foils .i~ oil slidJ,' fJ'fJiJ }wi'l1/;fJ'W' tfJ:/t;I"S.



1'1'1(188 Ihisinro by' draping d(fY em. a snUffl ffj."".


Mew~caf Inay be: used in m'illefiori canes, It works partilcularmy weD.wben set in translucent cla,. The least: exp'ensiv,em!e'w led~a:nd d~e easiest 'LiD fmd., is IQo;mpositioD. leaf Comrposirion jed, also called imiltativ:n iea£; mimics, gold, :sllVet" and oopper~, and it is :nva:illa:ble in a variety of parrems. Although metru.l~~, like metal, caml0't be pe[m~'" nendy bonded Il:opolyme.1" clay~me'~aI leaf ra:relf requires protection when l"t i~ used in canei.

Genuine metal leaf is alsn availab~e. Wben I am. using m,etalle.~, I prefer 23-kantt S~ld and genuine silver men in my wo:r~~ r.ather than eompcsitlon leaf. Genuiee metal ~eaf is sofeer and ~!ess, brirtle.

Foils ofFer po,lYlner enthusias tsthe pessihility of creating brightly cclored p~tte'fn~ed metal ,effects. These are ftel]uently used to imitate'dicihr()ic (t\N'O -c!o~()[)gl.russ .. The foil is made by coating de ax' myLar-if you see rhepattem, you"re actuaRy lcu::}kimgtbrollJ,gh the mylM' itself:

The ,p,roaess for securing me foil coating te da,' 15 a. simple one, f1'aoe the {bii1 on .rilw clay, pattern: sidle, up. If you~fie looking at at dull sdversheer, i,t':s upside dQfvftili yon mnst see the panem, Using the side ofa credit Icard, qnicl!dysttoke

",:m ,t:.'.~ • ~ f 1"· - G

tne iOI~.!!.-. lt S sort 0: .' a wru:p;puJ.gmovemcnt.c_'_~ra:s;'pa comer

of tbe ibil and qwc1dy rip it off the day. The mylar should be clear and the pattern should. be lef;tbehlnd on. the dal~ NO"t illfoil~ willwor:k. The hologllllpbic designSJI {{)ir ,~ample:" ,'t lesee rhe mylJJ:umes,s, 'they a;re heared,

For use 'as drap~ng fonus or temporary armamres, I have. a gro~ring {1()tDechon ,Qf rocks and. ceramic, glass, and metd i terns. Clay is: draped or \:vra:pped eve r these and ~Vllellthe clay is cured, the forms are: removed, The buporhUlt characteristic that all of these items share is their resistaneeto ch:a:ng,ea:t clay-,ctll"ing temp eranrres ..


Polymer day begins lcutingat app13o:cimat,ely~O~F, so cheese the location for storing your clay carefiilly: M,di.e sureehsrrhe clay is kept m a. cool placewhere it' \YjJl not be exp osed 'to heat ,or light'.,

RaW~1 unwrapped clay may he w~pperl 'with plastic WlllP or pl3JJced, in Zipffiloc-rype bagsthat will keep the clay clean. Somepeople prlerertowrap their canes, in W1\X pap,er; I d()iQ~t\, as [bavle hadcanes Idry up '~mgway.


Tbese benutiful bowlS' were tre(J:ted oy Prc£'ti1lg thit-k~t.ut ,cane slices ():'n 4J't cxlsti'i&form.


b:r:aeif .{I."rtis/: lrit- Cohln add'r hrigbt c(i-tU:djisb to ;':8"1" cla'y-,co'lJr1red vers:c.l.



l1~ing polymer clay require-s Iexposu:: ; to, temperatures ranging ao:m, 230:! 325~ Each brand 1lls im own recommended ICtJriug time and tempera _ "and the mlnui-acturer's recommendarions s.bould he followed to the' letter. -_ o'rder to aehievethe 'maximum strength, t __ be recommended temperature must ~ r-eached. For this reason litis, best to make your·canes, out 10'{ OAe bl'and of ,cia".

Inves c 'in an ,00Yf,n thermometer ~Bd. a nln._r~With the thermometer, lOU can determinethe accuracy of your oven temperature gauge'. 'You should know th~~ be£o~e yiO:U cure an rthing! \rVhen Lcnre my pieces, I leave the thermorneter inth oven, checking it ,occasionally.

With many QVeDs"- you -0 not need a sepatatie timer+-the eveabas its own, and you can set rhe timer to turn Ion "With £h, . oven and. turn ,off wben the' tim run" out. If YOW' oven does not have' this, belpful featurie, get a timer. to ensure that )mur pieces Ire nor cured too long. Insome brands:, extended 'ewing)'Vill bave' little to no effect on your work; others can be dam,aged b)~ th,e' beat. Kato Pblyclay ES largel:, unaffected by extended cur~g time .. while Pblyfo:rm clays 'wU] da:dren and chin,ge~

I bave a convection OlVen tha I use only for cnrUlg, polymer Iclay.][ believe bat occasional use of a regular home ovel1~-tbe one you use fo'r ,oolom,g .food~olse 110 threat to your fwnilyt health; but there are those wI .. 01 would d'isag.r:ee. Toaster ovens area last resort, The oookifi\g chamber of the average to-a.Steil" oven is small and na:rrow, placing the cl8\)r in dos'€! p1·oximi. '0 the heating elements. Toaster ovens are also pr-one "to. temperature sp,ilcing.,

Ibave used an electric frying pan to ICW~ fiatt pieces with £sir results, Specffic temperatures may be set when us,ing dectnc cil' pans, H' on ¥S€ a. frying pan" pb~c items. on a Tefl.oll sheet wben baking. The lIelt Aft Melting POl' made foM' nze Wemberg b, Ranger Industries, is perfect for travel 3LlLld parriall_' small pieces .. Such pieces should be' IcompLetely cured latex"

B"fJJ."e~ weJjor sttJrilig fishing lackle. M(lt"'bn~

,JI I! I

lranJI on,,,- MiimUniif()1l' are

jiut .the ,.,igh.t size:fo"" holding- (,(JilJIS.


Cenrun plastics, generally

cl· . 11.:: _.J - . • .LL

'_ iear MIY.lS" react Wlin raw

such a chemical reaction oc - .,. clay "melts" into the p1astic-, .~~ sticky mess .. l stolie lUY canes, in :__ bOXiOS that bear the recycle rr This number ,apP,eru-s 01.:1 'the b ---: 'of most ,of these transhrcent . ~_ boxes .. 'Such as tbe ones that all to bo!d. fulling. tackle. The late Eileen Loring, fmmC,ollorado d" ered ammo shell storage cases, tlle5'e a.n: ideal fOe' S1tOri_J]g'\[ c_ i[. ~4

'-'- must use YlOur home oven, n:l recommend constructing a :spe,cial'ourin,g _ _.._.-"o 'be placedwithin "the' (Ar,cn itself. To, make one place poJyes,tler ba.tting ~_..,...' ada inside a baking paD, '[hen place items, 0, c cured in the pan, me' pieces in this "\iVlly prevents fla:t, shiny spars, 'on Y'lYlill' fiaished W'CU~. entire pan inm a rod "roasting bag" Esscntiallly;, YOlI will have created a . 6amher 'Within 'lite oven and any residue &om PQ~ymeI ,outgassing will ~_ .nside the cookiaa bag" not on the sldes of your oven. You may find it neces ... ... e.;::~gtben the curing time.

diEioll to baking OD poly~ster batting', I havn begun baking beads and rounded pieces in a nest of cornstarch or b~ soda. Place a ,tiJJck 1 )lI'U del' in a baking pan and press the pieces into the povroer. This I'sfi!g~r sers s:uppt!Jr to bulky or heav}' pjecesand minlmisescracking in large - :\frer 'Curing, r emove the piece and", in a bowl ofwatu, brash off:the OOI'D-

..-_....__.,.l."rirll 3 toothbrush. Let the water ev iporate n~turaIly:' leaving behind the ~_, d ',at you may USI~, Baking powder isnJ't as ,messy as eomstarch, _ U can brush the powd r off' easilywithout srO'~ng.

~erally it is best l'O ~egrega'~ your polymel7 ~, tools OOfn any tools that might . dill fOe d preparation. Altboug~,polymer clay is, cert:ified .AP Non 'IO:XlC and passed rigorous testicng in order ro learn the ,ASYM D' 423,6 ee ·titication~ it is not -J ' to be used tOI make food-bearing; item', .This means 'DO mugs, no plates, no . no b O'W:B"-'''~l't least not those 'that youd, ,en out 0;£ Decorative irem:s ool}r, please.

Vhen i_ is used, propetl,rt'oUowin,g "the manufaemrers curing recommenda~ s, polymer d.zuy is perfectly s-afe'. The. on]y time it ll')igb:tpOtSsibly pose a hazaro wh.11 it is burned.Most everyOil,e I know has, 3" one time 0' another, burned a ~reh ofpolpner clay" If 'this should hQlPpen~, 'take :be bUIned""~lay items outside, ~ _ the windows and let the air elear before returning, Get yOlu_ pets; outside, ",'Ceftmu animals are particularly slensitive 'to fumes. especi.aUy birds. If you . ve birds, you'll want tOI make sur _ the}" all no near your oven at a.ny time .. ~1olS:[ brands cannot:'withsnmd prolouged exposure tOI tero,pel~a'l~W:'es ,of more 'than _ tTF: 'With'th exception of Kato I 'bmyclaYJ, which cures from .275 to 32SQ<R If 'Kawto _ blyclay is ,cured at 3,25°[' the Clooklllg time should be reduced 'b'-y hali !(ato Poi)rciSlY cured at this temperature is eventronger tha cbsr cured at 27SaF.. Certain colors, such as translncenr, will darken at these higheI' temperl'ttlr-es. The CUling times given in this book are based on a curing temperature of3;00° .), .ur:U.less ,o'thenvise specified.


I keep 9. Spl'l} battle of isopropyl alcohel for ,deming' my~Mfk surfaoe', tllt!s, :and

reols, Simply spray and wipe. ~

}\1iter working \[vileh pot rmer cl,ly and definitely before eating:, hands should be cleaned tboroug~y. Wip,e hands with ikohol wipes: or lotion, _ nen finish ';' irh waem soap and water" It is also helpful to OCH1!t YCIJUC[ bands With the pr()ciluct caned IGloves in a Bottle 'before 1tvorking with clay. This !orfo,n"; seals in moisture, while it creates ight barrier on yOUE skin. It makes it much easier to remove cla)'l, paint, or any other messy lTUllltJ.ialnom your hands.

POL YMIf C Ul:Y -00 S ANO M' TE rA S 29







illefiori is one of the most popular polym.ler clay techniques, Transla ed from Italian" the word millefi'()~i literally meansfthousand - zers" because the cross-cut slices, grouped together, look. like a field ofheautiful flowers in bloom ..

In ta1l:y" millefiorihas 'been associated with art gisiss for ma.ny )lIears,.Butwhen polymer ,clay w·as :nrs't introduced, polYll.1:er elay artists' such as Pier V:oulkos:,). I(athleenD'ustin" .and I(a rll}! fun tquieldy learned that th,emi1tefi()[i technique could be applied to polymer clay.. To make: polJll-ner cl~y rnillefiori, complex eanes+- logs Oil loaves 0'£ clay-· are created hy pressing rods and sheets of colors together tJO create images or patterns, Then 'me logs

OJ,iii''~ sliced to reveal th Go intri cate pictures 'rlli';;~'1:- -',QJ!(11lO.: '.:;I, I ~~~. to .·~V_~a.! . ~ :~""'"" 1,11,,1I.1_ -I;"".~I!C ..• ~;.' crures wmun,



, I


Simple' cane: 'Were IIsed to ,(!'«lte tiJick) largt half 1'Y!),untl' bc,adr. Once strun.g, thrry OeCtlJTlIf t/J,is ,/;rtlcelet.,

1 ,



IN S.O~'lE W 'YS, polymer day is even better suited for millei&ori than glass is, Without ehe heat required in glass, work artists can create images of even greater cemplexitythan could b.e produced in glass. And as wirh glass, polymer canes

L. d d .• 1. ]'1 ,. .~IL ." ~'1·

can De '[IE!, nee: witnout osmg tne o'ngmal

If,JiI'uu are newto this technique, be,gwn~y mmng small simple: canes" Many ofu,s begin with attempts tomake elaborate face clll~and fo,t most of us, this is iU advised, Beg·o withthe basics, ]n no rime you'll be constructing the most complex canes. Wben you start, it is, helpful 'to mike a dram_llg' of the cane you'd Iike 1[0' 'build, comparing clay elements 'to the drawing-as you construct the cane. This is also he best way to control the size of the canes you make, I generally do not me ke extremely large canes, preferring to make canes as I need 'them and thus minimizing st:orage: problems,

'Chlly selection is important, You would not construct a cane of clays, of drastically different softnes s, cane constructed of Fimo (hal~deiS )an.d culpey TIl (softest) woukl not reduce liVen, because 'the F lIDO would be 'mote resistant to, pressu[le (and movement) than the Sculpey III, wbicll would move more 'quiddy.,

A d d d f 1L t uld b '. il dl f F

tee_lIoe'· cane: mace '0: tnese No cJIla:ys '''0_ . e pnmar y compeaea 00' , 101.0

wi:~hViery lirtle Sculp.ey nI rem'uning, as, the Sempey m would have moved ,out to me unusable ends durin,G the reduction process,

Although Seulpey III might be initially easier to, use and condition, YOl1 might find it least suitable to the millefiori ' echnique, Thesofeness can result in. a less crisp and less accurate reduction ofthe original image. For this reason, III ICCOlll1- mend Kato Polycll'BY: Fimo, and Fimo Soft when making, canes. Prer no SClldpey may also be used fo:1'" 'cane making, and it works better than s.eolpey m but it tendsto heat too Iqwc.kly~ It can. also become ovedy sticky 'with :handling and, unless it is leached between pieces of paper toweling (to relD,OV'C -eXCCf!S plasticizer) befo,re using, it C,iU] become diftk,ult 00' handle. gain the end image, might be more distorted after reducing.

--~~ canes also :plays a pan in day selection, If the clay is too 'soft or too

- ma.y b,a:ve diffi,c'liJtf cuttin:g clean, dun slices that 'maintain the shape

_'-'-~_""_ s of the cane Itself ,s,ort~ StilCky canes tend, to squ3;sl1. down or ~unea.r~ - - difficult 'to maintain, the ,odginill crispness and cllrity of the image,.

-..----~ ::n and Premo :5adpey tend to squash and Somerur more than Kato

Fimo; and Fimo Soft and USlla1Jt need 'tDI rest fora, period of time -:cring, wheress the ethers m,ay usually be sliced almost a'S seen as they

- __ e, 5fill~, there 'are artis,tswbo make beautifUl canes using Premo and

I so mt ,ceuMruy iSD,~t imp'o"Ssj.bJ,e te do so.

._ ~ a. surface "With miD.IIDori slices preiients, its O'Wn. d'l.a[h~[lges. \Vhen s@er:' y ces are a:p:pliled to' a soil 'core} 'the 5!oft d,~y will fill the spaces between the

L~ when softC8l1e S]i,Ces are applied to a stjff'er core, thcey'will m,ove out ever _.......2 _e and join m fill the Or spacesbetween :sUces. C'Nidithe softer c:aoe,tOt ~____;,;_~ diseortion 'of the cane image and shape, you]l want '~D [ill the spaces. mth ............. ....._-..'I.Jui clay.) The best end result comes Kiom us~ng a. clay' of moderare stiffness,. t re increasing 8oftoe:s's fro,m lYlndli:~g" fo,r 'both canes and background ...

- za eo :dicesm~'be applied 'to a :prehaked cere or to e;ristimg forms (glass wtive8,:!, ~pmlel .. Urd:ess Jfou ,first cover the leur-ed base bead 'with l~W cky firsc1,oruy ~ zane slices will m01Ve,mruci:ng' it more important than ever to fill air ~p'aoes n the slices, If you are 'QOVedll,g I, glass formj try IGovering the entire f-oml -:?! J. laye'r of cl.a)f 6:rst'~ then applying sli.€es. 'Or makle '3 decorated sheet, then

- , rthe form,. IGl$ss~, metal, and gblzed. ceramic. forms do not form. a 'permanent

with po,iymer 'eht)j S() cap'ru_ring' the form mday will,e,n:su:re·th81:tlthe ,day does, - release froi,w the glass. aftercaring, Inmvidu9l :&eest~nd.iing slices; may be' b~ked the fQl~tl1S~ but they vrillltavi8 to be removed and glued brafelt a,p. after cu:riog. I prefer to use cane slices, ~ele~tively WI create the averill image, .o:111yoo:vedng

eerire sheets witb canes when 1 want an overall ba.tkgtaund, pattern" When rkingc in this wa~.l rake a 'thin slice (aJ!w,ayseurslkes. as thin as possible), posin iton the be'ld orbackground cl:mty~, and smooth itinto 'the' s[ufa.ce'" one ortvlo ces at a time, never Ij),"erl~p:pin,g: sliees before smolo'tlung ... To smooth, I use :a

_rge douhle-poinred kn~,[tin_g needle and, beginmng at the edge of the cane, roll :.. ttl the ,da, .. I 'then loll a.aos;s tile rest of 'the cane to, ~mooth. it onto. 'the chly~

When. maloog sheets of overall, l'1Cpeatilll:g pattem, first liOn a sheet of base ihly..'Tl~s she~t ma.y be fairly thin+-ahour O'wmber 3, or 4 '00. I Makin:'s.Cbryc)f' an Adas: machine, Q'ntol this sheet place thin, uniform slices, fItting' and boning' rhe:tn edgeto edge te match the pattern.

Once the slices; have been positioned ()iD the sheet, slice ~way ehe exu:a clay ir,omihiicb.r slices that rise alHJve tbe rest of the sheer. Then ron over the jiomn_s between slices 'and sheet' 'with a knitming needle or rod, WOrlci:Dg both hOfizon'mlly and ",",eTtie-illy" firushing 'b.Jl [ioning across '[be entire sheet with an. acrylic rod.


WI~en ilQ~ln&eads~ il is besi 1,a.~e- 01 51,i FTc r ~Q5e ~I~ 1hiLS 'W,iH heJp mairrrcin the ovemll s.hope e F 1he lloo~ roC{ (1 re ma ~ g," C~o)!~.Qf I'S i:elG 110ft gives tee easi'l

I _ ppf~ea ~rias ~ure pnd, in ,:e ,end win Nisult I'

ig~crl~ ClQ~ iNil9 .of beq"tJ silto'j!e.

MASA:KD IhlABE M{l:solm Y'Je.d the mmp!mslIl" 'rJ71i1~g iel.JJ'fJig'U~ t'D tJ'l!atethuilly /llVtJrite ,!Jcttul.


J.BOVEi AN N' ot II 0 N S'triking'ri'ngs s/ . use of:subtle colm' :eJfi,ts.

Rmm l~i'GH ROSS MiiIefiori 'CflJ1lJ1 may be med to .make ,b:ea& for unusual j(!""tJ).eby~


'Nbrk on a" ceramic tileor another surface that the clay will ugrab» so duc ltbe base sheet 'Will not move or enlarge-as you toll. The sheet will stick to the tile" 'but it can easily be removed by fo ~cing a blade under tile sheet and sliding it 'along the tile,

Whe'n slices are v,ery thin, be carefal when choosing the color of the base sheet.

If'the slices are ~tremely thin, the base color ina)' s:bow: thr-ough the slices. This is especially true of translucent canes, so for those, select white~ pearl, lor' light-co]Qr'ed, base. clay. 'Once a~in . I here are no absolutes; you .may wish tQapply YOUt translucent canes tea colored background for a particular ,~e,t. The use of translucent clay \'Vith opa'qli~',cm'es can result in 'beautiful effecrs, is seen In the 'work of Kathleen D1ustm and Ann DH]lon~, and .in the floral compositions of Leigh Ross.

Complex: canesare canes made u"Om. t!nanY',elen1rents to create ,~ wbome. I p'refer to make component canes instead. Complex canes have the who~e pattern within just one. cane. Component canes are individual, simple canes (the components), used together to create a. complete image on da.y;

I tend t,o, make component's that may be used io a variety ofwR}''E for .different ,effects, •. My flow pieces ·ac;;tually' use one basic technique tomake a single petal and a. sjrugle lea Then I use-slices cut frorn these individual component caaesto create a finished pkQue, Component canes need not 'be complicated, Masks I've made use the most basic canes, but 'when they are assembled" they offer an object of visual oompl,e:xity:

When m~ngeolnpLex canes til;,~tlieqWte division and reassembly of parts,remember to cut ·th.e waste off the ends 'of the canes before lue-asmrm,g' and ruiiding (cutting)., This will ensurethat the finished cane ",\fill be good all the way through from one end to the other .

Whe:n maldng cases, pay attentionto color and contrast for although an image might be 'vay clear and distinct in its original £orm, :you might find it almost disappears after reduction, Msximunr contrast is found. between "White and black. A cane composed of the two would hold detail throughthe smallest reduction,

"-.01 -. lmmona creates complete pictu.l'es b~~ using the es rather thancrearioga whoLe 'mage in one single

~ ::- ~ in my epinicn one of rhe most skilled polymer clay ':mIlS of her we of color, contraat, and pattern, and in the _-.;_~~ construction and! finish of her pieces .

........ naes .. , outline of a contra_sr~ng color will help maintain cdsp',emil. A thin white \vrap willlldp maintain b~htness,whi1e -. ~ ped around. the same color could make the' colors appe'll dun. =~uoent clay; ,this effect is 'Very obvio!lls-bla,ck, muddies the . ~ e white: b.[~ns 'the rotor., SO~, genemlly spea.kin,gl' wbi~e

. translucenr, 'Afhi'tclIllay also be 'Used 96 a buffer 'between _---. ....... zad tta:IJ,slu.oeJlt; and the thinnest-sheet of white will do the some p,fO;IOCts~ such as, faee canes, you might wish to, ~_ dark·atpin8tthe face tone togive the dfea ofshading~

. - entation is the key here. The' more canes you make,

-' r y'Ou 'll discover w.blt 'works and deesntwork fo~ you.


---- .... .....,.g"~ is the '1Je.t-nl :tor filli:ng areas in and Mound can es, S'pa,ees ,2!refilled by .....-:.:~ in rods wedges: and sheets Of day. The more tighdy tb space axe _...:-.~~ ..... "the more aocrnrat!·· your reduction will be_ It .is helpfol to T'M\"r'JLP specific . nrs of your design 'with b~'ckgro'lln,d 'ooJ.or tominimize Idisrorti[,cul .

...... or example in che' case of a face cane I by wrapping. the eye-s, with a sheet of the color befor = packing the :rest 10.£ the face color.- you ensure mar 'the lines around ~ - ~ eyes vvill remain straigb t and smootb and will not "spi lee'» as tbe day pa~ed '" d flUls in, In rl,r;,.e case 0, complete flower canes, for instance, pac.kingtbe area I nd the t1O:WIe( with ttansfuc~t da~ can increase tb ' .. 'UsemJness of a cane, because _: we,s not tie :you to a sp'edfj,c l::cO)o1' ibackg~louml. If ill cane packed -with translucen:t, . ed 'thinly enough, 'the translucen ' will not be apparenr a.gainst the background - or. You may even slice the cane and cut and remove clayau:ound rIte imarre.


Reduct- on j'B making the diameter of 'a cane smaller and smaller, To do. this; you

·tta,t t,o trans,'ta: the peessurejou exert around, the perimeter to the center of the cane .. In order to s.ilmpliJY reduction of large canes, it is helpful to construct canes with a deeen height-to ... widthrati,o. Ifl make a. cane 16 inches in diameter, need ro Ol,a:ke it a ,minimum lo,f3, inChecS~aJl'Cla:Y'used to, :ma:k~ (:~nes,oflarge dlamerers should not be eoo hear-responsive, This sort of clay just becomes safter., the clay at 'the perhnerer moving tOu t more and the pressure exert-ed Iess likely 'to affrec[ the eenter of the cane,

When reducimg', do nair reduce the entire cane [0 irs, smallest me. Workin stages, reser~ving the cane in different sizes. Canes m,BY al'Aray be, reduced, but you ca.n't make them latge a.gain, vrithoU't creating i:mnag:e dis:torti.on. Practically spealcing~ it is, much lciftsier ()I store unused canes of larger 'sizes than miles of reduced cane.

CAROL SIMMONS CaT()l mokas, the .mbst /Je.auiifol., i'1Jtrj,ate "m!!s,.


D'NE, OF T~IE MOS-T APPEALING characteristies of polyo'llet claY' is the gte,a:t' variety of colorsavailable. Eatch brand features different colors, and you m~ay also custom-mix your own celors. In this simple way, }i'OU em create you own look, using 'C()~Ol' to add your awn. distinctive touch.

An undetstandling of color and contrast will make all the: diff-erence in the success of your' canes, so it is wen worth your while to ,eng-age in some experimentation if you are just beginning,

nlis: section-was 'written by artist Laurie Macisaac.

Mycom,or choices tend to be mor-e intuitive, less academic, and so, fO:r]tQU1 benefit, Laurie graciously wrote this section for me. and provided the clay samples to illustrate the concepts ..

Her exercises and charts are based 'on {{aitO'

Pblychty" The line was' designed Eor maximum efficiency, :featuring seventeen colors from which virtually any <Dolor may be made, The eight spectral colors form 'the foundation fOf color rnixil'lg. Wt/v¢ recently added 001.91 concentrates to the line" at. product sp,ecially d;!.'~signed for color nming. If these colora were placed on a colorwheel, you wowd find them evenly spaced around. Thank you" LaD iel

AiEi-O~: U MOL Y HAUNAN I TheSl], bead's b:egau as. a Skin'ner B,/end bullseye

. cane 'with Itripes laTiOi.l1'la ·the center !Jz'dbeye. Lin'dly Ct'lt and ftfihtipid stgtnentJ to create,th# dramatic ,hO/a1:.


Jana~ mastery of knieiiiafCf!pe t.a7lirlg imd ,her use" '01011 ttl'S -evident .i n .this l!x-t),tic bracelet.



te of the key elements in design, is celor, Arli sts have been using JCQ~(!r theory - ~ eenturies tOl ensure that their color ,cboi,tes: bling out me 'best in their work., :-m~ ath5t:S have 'I, built-in eolos ;Sel1!!e~ others have d,evelop~d it O"'l.f,f,f time, Still =m usea colcrwbeel as a teol in erder to make the best possible eelor Ch'oi('~s. ~ ~ celors 0'£ Ka:to Polyc.lay are based 'on the tradfutionm comor'wheelJ,wb:ich ;\",5 artists ro easily create eelor palettes and scheme's dl'at :reflect 'tbeiL"p,er,son'al -: ~~. iRenl,embe:r. the mstm,ctio'os In d:u:s section refer to Kate P(}lyda~f, the only ~ ~ymeJ.' day d!f:si:gned £01,[ easy -and effectivif: color mixing.


....... ;:ing a color wheel, 'W'tcan begin to understand the teltti,on- :pg, be~een 0016,r5",

..;\ s~3ndal"d eelor wheel hastwelve colors" aU de.rive!d. frenn three p:rimaxy c€)lo·rs:; xed" yello"V~ and bble,"

The three primary colors, when mixed, 'C1fieatethf;ee =~condary colors: Q1r-mnge, green, and violet.

The pcillllIY and secondary coiliors~ when 11Dxed 'oogethet,creSJte _- _ ~uy eolors; b~ue-,green" blue-V:iJo,net, .lied~violet) ,red-QrangE'; . J.low\eofiln;ge~, sad yellow--green.

To create the six te.rtiiary celors, you. would conditionthe

~ . owiD,g colors ,of Ka:toPo~JfclaJy.;' red, ulm blue, yeDow- ,oran8e~ rioler, g;re'en~, and magenta, Ron each eolee to an ,e-vell, thickness, UsiD,g a ~cune'lr~ CU.t the' num bel' ofi~,ar~5u indicated in me recipe below and,mJIlyb~elldtbte· clay until :00 streaks remain"


b u e "\I' i,~let .-e-d"'1Ii'~g m r~"QrQ.f'l~p, yal~~:omnge ye~ W-'@flieTI

1 ~aift u lin] ~hJ..e pf us, pit! r' gnm'll

I Po ~lrJ Ilhro blUe: . us ~nF~5 ~:lrE!:f

, Fltmt mQ~J!diil to paID"t '" rolet

:$ FClf":ts rE1icliA\t~ " flilQrb ¥lr~1ge

B p~r~s1'Jlaw IR us t rfor.t ,or~.llge !,4 ~Q rts pi,ii:.\w pius ~Of" ,green:

'i'iIlI.OW" G&[!N

Bl1iJ~· VOE'l'

Set aside the rest of the magenta clay for another proj:cct, ¥ouwill belefr with "me't\N'e.i'VIe standard colors em the color wheel. These ICO,l.OLlS) ~ed with lone afl0tber and 'Vrith neutrals such as brown, black" wbite~ and gn;y~e:an be used, 'co create any celoc imaginable .. ,

U ndentaJldilngthe relatienships between eolors will help you determine which co]ol~wo!'k well t1o'geth:e~r~

Co/,w (Aps let ,artists kU; Q 'l1iSltllI'Te(NiI' oj,toei;~o,r re:cipts,



When=- rperimeiuIDg "With cla coJor~" it's, a mJod ideal to keepa record of 3l1'l)F color recipe dlat you Iike.. aking color chips is a "fun wa)l' 1:'Q' create a valuable tool that vriJl 'help )'ouch,oose eclcr seh mes f~':r your project_so

To male, ' color chips, roll each of,' he twelve colors you have jus ~ made to an even thickness. (Tbe number 3, se ing on a pasta machine works well.) Using ;f\ l~inch circle c.utter- ~ut a 0010:[ chip out of each, ofthe 'tvi1elve colors. Using' at ¥J~inch,circle '~lft.t r Of 9. straw pUllch a bole in til chip f,01" sttin~ing. Bf ke. IQ1nce 'the ehip is rcooLw.rir,e me redl e on the back with a permanent madb_t, ,and string 'the ehips outo' a piece of Buaa cord.


Of course -, rere an! 'COUDlt ess different colors in th world. Here are some simple, vananoas on our olor wheel.

Fear. ! 1 port color plus 1 0 more p rts pearl Fe p'Clstel~ 1 pDrf c-olor P~U$ 1 or more! perts white

FI, muted e~s: 1 p!lrI celer plus 1 or more (lOIFb be]ge

Eo tro shJesn . 1 pI!J1r cdlor P,'IJ!> t or mo B pons trans ucenl

f er tnelaUi 8: 1 porI oolo:r plus: • pert g,old Qr 1 porm sifver or '/4 pClr~ copper G rJeepat. oLars: 1 PQII!1 c010r plu,s I/r6 port bi~,cl


-- ~.~c TJ.;]][ 'DOl .. O.R. \IVHEE'L~ we can euily see the various celor ,&~[1][i1]es, or .3Sj thar are IvM!ah~e· to us+-but sOIil,ehQJW w,e never seem to be able to find dy the Ico101' we need. Here are some tricks for :adJjus;ring' runt colersto ger ~ perfect color and shade [o,r YOUI project.



:"""_lI.~S exped'lnelllti: Condition. 1Uld roll to a. nUill'ber 1 thickness all. y0111' pas,ta .. ~chlne some red and some gl'ieelJ l(auo Pblyclay. U.sing :3 i-inch round CllUe[~, - tseveral circles nQm eseh ICQ,lor; Thl.lix 1001ecirde.-m:at ls, one psrt+-of each

- or tLogetha., Congrn,il:u1a:tions~1 you have created mud!~ This effect b:appens

. enever QO~orS, t:bat are op'posiite' leach ether on the colo.r 'w:be,ei~ etherwise =mo:wn, as,oo'mplem~errta;ry celors, are mixed .

\;Vhlle we dJOril,t ~lllenllly have a need for a lio,t ,ofmud-colored day in eurwork, '"' an. use this predktable resUlt 'riO o,n.r·~:uiva;n'tage. If you,ev,Cl" Ita:ve a 'Deed to tone 'OlVfll or neutralize it coler ~sIDmply add small amounts of it-so ccu:ll.ple:ment [0 the :...ay mix uaril you aehieve 'me hue ,0:1" color that yot!. an! lo(ddng fOif~ Try .:adding small amounts flf red to .g;reen (or vice versa) and watch howthe color changes, Gala,rs: 'take different amounts of their com .plem,enrs to" neun~aH2e., Sino~ vio,~,e't : - a very sarurated CO:l01~ very little vicile'! is needed '~O aeutralize yellow clay. But .,:. grea[ deal ef yellow wiU be required tOI' neuuali'Z>evio;let cla}'~

A 'wo'Rde:m~£iJ1pale~te of neutr~Ji,zed 01 ~ d\1U~d" colors ean "be creatEd by mhrntg complements together;

The 'Opposi ~

yellaw' is ... iolst, yellaw·oranga i:s, bhle-l;tjole~ orange is blue

red- era nBe is;. bh.!le·g roon red ilS ii rl!;l e Il

)"ElIUolol\il'gree'l is redwvi0ie't

So I t:r'l:ate th:Q- to Ig d-dClwn palen

:2 ~lH1'S yellow pl~ s /rl. per vrofet 2 por~5 1BnOw-ora~ge p U~ 11M pGrt ~1ue'yiol~t 2ptl rrs omnge pll,us V M P r*lJ lue

<2 perts red"'Ofrgn~e pru~ IA pan :&llP,"ee'n: 2 ports '·00 ~li!l~' lIe:,prul gr1!el

:2 pcrJ'~ phJ!> Vg pltJ.rt li'r!H'j",I,i'~G'e

Lr;(J:k IrJl ,tIJis Slum.n° Ble.'ll:ti (s" pae' ,Ill:, j'(Jf .r.n'(Jr:-e. 01l' 8RrI'IZ1Jcr Bl~luJsj n1JQ{Ie. tt;Jitb7W/ af,ul l1~t11 ,~iay. N",te IJfrW i1it:em~ the t{)/f)f$: t#:'€ (J,t eiKll ~11fi (tli'd ij'O<'W t1Je)~ grtJ1itlally 'l'J,t~tiz.t t1) /JrlJ'Wtl in l17t' middle.


Red day miiNied with alber (.r;lotstl)creat(f· "fJtlJ'iOUJ tints, /011:.8'i., Q'tld ,iIN}J,des. Clbcn:wtse jriJ.m

tbe bu:tlrll'lt: r;ea; red mixed 'W.ith!;/qrk; red mixed 'Ufith !J1YJWnJ~ rul mix!!d "With gray: red ~i.:~ed ·.,_uitJ;_ -::rJJhite:.


, .

. .



Adding bbu~k or whiteto a color adjus:~ the-value ·of the celor, YoutD need to add a 10t ef white to a color to Increase its value (th:at is, to lighten it) orjust a little black to decrease its, value (that is, to darken it)..

Sometimes a color does not need to 'be lightened nr darkened bUlt needs to' be a Brde more e:artll~ ,Create {L1S;ti,~ tones by adding small amounts of brown to your mix .. li!'u~s·ty colors are achieved by add" ng white 'and. a small amount ofblack to the mix, .


We can take. all these tricks and use them to capture a. specific color in day. For this exercise', roll O'lltyourday to an even thickness .. , Use a cutter to cut parts from each color. Select a target color, perhaps from a paint chip, Then follow these stepsto match the =e= ..

Tn'ke aclese look a,t the ta\l'get color, Using tile color wheel~ determine w.b~dl of the twelve color "fa.milies» it belongs to.

2 Wrud~ s~de of the fami~y ~.oes" .~~ targ~tcolor f~VOi': I~:_'ilie,_~ed-vi.olet .. you are tTylng to create more violet man t'ed? Thenadd violet, alitrle ata nme, to the cLay until you achieve tile .color that you are looking f6r.

3 l~ th~_:tatge.:, t ICO.I0f.· .,du.UeI.' than ~y lcla~? If~t is, add small amounts ofthe clay~s complementary c-Q,l()ir to the mix to dull It.

4 Is 'the. '~'get c(}lorli~;hte~ ~r d~r~e~ t~an my d~?If ~e targ~t co~o:r isligh~~ add small amounts ofwhhe. If It 18 darker.add small amounts of black, Add

white or black in '(j'e:rysmill amounts until you achieve the desired color;

Look closely at the results' you should be fairly close to :the tmg:et:. If not" examine rhe (':lay- to see what it needs. The Most common problem at this poinr is that }rou mayhav~ added so many other 0010r5 rothe,clay . hat therna in color looks diluted ... Try adding more of the main color to the mix ..

Once you have achieved the desired color, note the number of p.attsiYOu used :fi~m. elm clay 00101:. This: "recipe" will help you create more of your targ~t ,coJOt when. yon are ready to begin .1'01,1.r proje.ct


Even 'browns gad grays can lean toward a specific color family. 11 you are trying to match a brown.examine it closelj; les ]ilce:illy to lean tovv:ard y;eJ1ow; o.r:iln,g'e;, or red. Add two parts of 'cbs underlying celor to' brown .. Mix and adjust accordingly with more brown, blade." or white, ,0\1: the under~ying color, 0][ its complement.




CH E!:~MES ARE tried-and-true eombina r'~ons of colors, based 'on and experimentation, Don't think of these schemes as ! color rules ~I • . e them as starting ,POiOES for your color design I le-sped,ally when you",~e !~-i_n·, block.

- _ aechromatic color scheme uses jus's: one oolot~,

-'~or on the t'(!l,lorwheel. The combination of

---=-~'" shades of the color' in create ex:citemell't

- mterest, The: bigger the difference in, shades"

more drama:cict'he ,effe,ct." Here, nr~,QUS ----<".. .......... ;0..;;> 0' 'black an c white Wel1! mixed with an hie and pearl mix to create dille(\e.n.t shades


mplememtary ,001or scheme uses any 'two colors :He opposites on the co,lar wheel. Projects using :._s scheme may have one dominant color, with the :.... _ . ., color proflriding an accent. Fort-his tile,; shsdes - red-violet and ellow-green wr re used equally.,


_- split complementary color schem _ us,es three _ OlS. hoose a dominanr color fOIf your p1roject· e was chos-en for 'this tile, The eomplementar or for blue ls crange, This scheme doe's nor us . - - eomplementary colee bu I the colora 0,11 ei ther . Ie ofi - in this case red ... ora:_nge and yellow-orange.


~\ double split eomplementa Y' Dolor scheme uses feureolers. Choose 'tv/a complementary colors such

ts yello~f-green 'and, red-violet, Ignore these colors, . u _ select the colors on either side of be h of

,_.L ""'m- - .......... y,:1<'Unw· «r""'''''.n 'r - ';11 .""'11,:.1 U']! ... '~-~.,.,.. [11",-" : 1¥..u1~'. ~ 0'", 1!Io.r!1~, ,CU't ~!I,tlI, 'W."";.. .. ,




!ioiI iii


odl2. ~Nn.ODUCT~aN. 10 MlllLEFIO~j

An analogous. color scheme uses three colorsthat lie next to one another on tllecolor wheel fo.r example, yellow-orange orange, 'and orang'e~red. Anal\ogouscolon;, make wonderful Skinner Blends (see pQj,ge 1.07 to learn about SmcillJ~.e:[BLeI'ldls).


This color scheme includes the complement of the middle color in jhe analoguu:s color scheme. Ye:Dow ... orang-e" yellow~ and y~UCfw-green.. were 'i' he three analogous colors chosen here.We then added violet! the complement of yellow, to, add interest to the tile ..


The triadic color scheme uses. any three colors that are ,¢:quidistant from one another '011 the CQloI' wheel, The' colors used for this tile ate red-violet, blue ",:green.). and orange-yellow


The' quadratic color scheme uses :my fo'ur colers that are equidistant from one another 'On the color wheel. This tile conrail s yellow-orange red, blueviolet, and g-f-een.

.Jl rorltrasting ,background ma:/?e$ the leaves pop; a ba;r.W&LUld o:tli01" similor to' Nit :lilt( eol():r gif/liS a softer tffec~ left.

lifniPF_ing t/i€ pettlls of a fltnur:r in bloxk !J:efor2tlJs/!1'#bling giW5 the flr;r¢er grndtr dcftniiion, right,

: .. ?£ REFERS TO the ,tigh"tllle~s leu: darkness of 11 color, Adjusting ilie value of' blOTS within yow' project win increase or decrease the contrast in your

~._ c_ You can use' contrast to advance or recede different elemema+-that is, to

~ .' them fonvard or 'push them back visuallv Here's the rule of thumb for

~ '~ ,.

___ =;. contrast! I-lighco~trsst advances and 1,(l\V contrasr recedes.

- alowing this rule will almost ah~lays yield good resulre when building a. ~-=-. For example" if you are :rn~ng' a cane with leaves and ~ fIl~r and you ~, the leaves te fade into the backgrotln\cl~ use Iow-comrasr colorsfor both the: ~. !n':ou.nd and the Ieaves+-perhapa dark green leaves in at dark. blue. back=- __ , d) or light green m,e aves in a light bb~le background. If you. want' the leaves :-mnd out, use high-contrast colors such as dark grClf!n for the leases and light ~e for the background.

- - you choose colors that are 'similar in value for your flower' color and backd, you can still make an effective cane by wrappiag the petals of the ±lower -= ~ contrastingcolor 'before assembling, Tlus is why the instrucrions for some

-......~es have you 'Wl-ap each element of d~e cane with black before. assembling .. It

_ - . des thecorrtrast .neededto define the, boundaries ofthe flower.

The 'two flowels shown below right were built in ex8.ict1y the, same 'W':ay, e}!lcep:t

. in the one shown far right, leach petal was wrapped in black hefo,r;e assem-, ~ '. g. Mner reduction, you can see that the: unwrapped cane looks more like. three:

- . centric circles than, Iike a flcwer with clearly defined. petals., Us'e a different

,:::"ade of the same color fen' a softer contrast, as was donie for the leaf cane at left.

Knowing how to, manage color in yOUl" work will give you the control YQiU ~d 'to' have your proj,ect tum ourexactly as you had envisioned. Experiment with color to create your own distinctive clay palette tha.f will make YOUl" art _ . rsonal and unique,

zen cenditioning many C01QlS of day; begin by working with the lightest :i..rst; than move 0.11 to the darker colora .. Ma.ny people ask w'hy:,when they _- "_,-through ,;he machine, dark streaks sometimes These streaks are

-.=---::.c ..... ~ by 'a chemical reaction between the nickel plating on the rollers and the

-:-he Makins Clay p:ast:a machine, 'With its nonstick rollers, does not create

~.--'~ ....... , on sheets of day.

-.: :uu do not have a food processor (for extremely dry or very old clay) or

- machine, clays may be conditioned by hand by cutting the block into pieces,

'_~g each piece-, then kneading the pieces rcgerher,

III :N' G S H E E T S '0 F ClAY

n oonditioning Iday "virh. a pasta. machine, you end up with a. sheet of day. ur canework, you will need 'uniformly thick or thin sheets, For thin sheets,

~ _ 11 'Wish to roll thin sheets, do not force the Iday immediately from setting - - uckest) to, ,setting 9 (thinnestl.Tnatead, roll the claythreugh setting 1, 3~ 5, ~ - 8], and finally number 9. Do not skipsettings above setting 5, 'as doing so' -: - h t Iead t-o cl~y shredding, wrinkling or tearing,

As you work, homd the day above the rollers, maintaining tension in the sheet ~ ~uu roll through" If you find that the day still shreds, try de·aning the plates

eneath the rollers 1by rubbing ian alcohol wiple back and forth untiJall collected :::.a}f is gone. If the machine is. exceptionally clogged wit:h clay between the rollers znd the bottom plates of the machine" gendy dislodge. the clay with a bamboo =irewer. If the da;y still tearsand shreds, the problem might be that the edge of - lower plate has been damaged or nicked, If the plates have been damaged, replacement plates may be available.

To create a sheet ofgrearer thickness than the thickest settmg'of'she machine" simply roll ~'''O sheets andp.res:s them together beginning' at one edge andvrodcing toward the other, pressing air pockets f.rOom between the sheets as you. work,

If you do not have a pasta, machine, roll your sheets with an 3dcrylic brayer or rod, First flatten the conditioned ,day by hand, Far thick sheets, select 'VN'"Q , zines of the, same thickness .. Place. the magazines on your work surface, spines facing, with a space between. Place the clay between me spines of the magazines and [01][ over the clay 'With the: ac;ryllc rod or brayer, For thinner sheets, try using Popsicle-tjpe craft sticks in place of the Inagazlnes, or use tlh'e Pro Clay Roller with gaskets, from Prairie Craft. This 12-inch-wide acrylk rod comes. with three pairs of gaskets of ' various diameters, Slide 2. gasmet on each lend of ' the rod and roll to produce sheets of even thickness.





These tw,o pins fiatu1"S simple bullse.yr: canes .mza

, . .T • . "'7"ii." ,L • h 1 J~ J:._

Sim;p,.a 5h~/)f: CfilJ.'es~ L I:i~Cf(.-gauge I""~zre' . ··'(Jll~ /I}f;.

tiJree elementS' securely.

R'IS:AD'Y TIO S·TART eA-p!erimeIltingwldl millefiori? Start here, vri,th a basic bullseye cane, This: simple cane is the foundation for many-others, mdu,ding the windowpane.csne, the stainedglass cane, lild the la.ce cane. After 'maki_ng a few hullseye canes andgetting the technique dowu you maywish to wrap' more sheets around Y:Qur cane to get more interesting ,effects.

1 Usin~ :~our 11_3nds',_roUa cylinder o.f o:ne ~k,;r.,l\Il~{e' a sheet of mother color, Wrap". the. cvlinder with the ·sbe,et


2 'The. easiest' way to, determine the correct place to cut the sheet is to ran the 'w.rapP,ed cyHnder' over 'Until the leading edge touches fh.e wnp sheet" Unrol], and you 'Will

'.C -- the .-c,.c· .1,- -'. - ·d - .~;.. , .. -l..._. 1 :,~., . "_ ,,,J " - C- "i" th ch!-' . t" ,,',

see w.· marx rna, .. e 11,))' UJ.e . ealJlUlg .e~ge., .'. UI;, ... e sneer at

that- point and reroll,

Roll the cane to smooth the sides of the. cylinder .and _ join tbe seam of the wrap day.

4. I WI,3tp-ped, the.basic buU.seye.- :nth'a .. sl~.e.e:t o~ green, YO'~ need not stop here+-more layers m.llgh:t be. v.''I'apped around. for differe:nt IjJJol~.,

5 Bullseye canes a.t':€! limited. only by your imagination'! Experiment with colo-r, shapes, and size to find your favorites.



-"-~' ·eTlON I ' THE P'ROCESS by which you. can miniaturize lia.merer of your canes, shrinking the image contalned in. re, '0'ine artists recommend sque,ezing 'me center of,tbe and slowly moving Que eo the ends, I - nd that when .use

method, clay tends to sp],ay out at the. lends of the' cane, _ang in ,~rreater' 'waste', Reduction aID,ways: inv:olves waste, but be minimized.

- reduce a, cane, \vhether i,t is m:ound.t, square, or t:riSllOgulm-:" I 'to reduce the ends ot the. cane, p~lnching' them, then ~---"!- ~_ the center 'Out to catch up' with the pinched ends. For procedure the day must be sofrened rhrougheur. This __..- ......... od minimi-zes waste at the end of the canes.

'ben red uting a large' cane, pre _~ ,tb c ends of ., be cane to

,1':, d" m,~~ T' L,,~, d'· 1l.._ fA 'bn .. 1: ,11 ,,]1 .... 1-. s., ~!!..

- _ "u'c,msQ'. ,. he ".J:SK:s 'gra' the Icm-ay; U1U,u.lI5_ .ncourageSiJ:J~e

zee of the cane to stretch ,aut 'e'VIenl)~. If )'J'U have very large - s you might find that whacking th sides and top \Vi '11 a ..Ii 0',1' slamnung dle center of the cane apinst your 1NO.rk - -e helps activ:a e the c1ay~Basicall)'J' do what you must to' ~-. s rhe center IOf the cane.

The best r,educ'cio, c, oeeu . .rs when the clay is, :50f[ 'throughout cane. If the ,clay is not soft throughout you ms:Y end up ,-,,-~, kin"~ 0,1' splitting the cane as you 'tty to reduce it. Polymer ,,' responds to PJlf'SSUfe, heat; aDd Inovement (tvlis:ting and netime compre-ss,ing from the ends).


This: tlJr:ee--ca/Joth;;71 pin Wt!III'tn1J/'U(ClJ't---set dot ltlW2S CiI'" '/liJtai' ,tilffi plus StFipf ,fU,tjfO'f/1, Il 'Striped' sliee:

- ep:eareci s,lammiI19'. 'US'e~ by m~:my pelymer tluy art.js.1s: 'to ~aft8111 hai, <:QiFl85, causes jol,ting your hands andl Wlii,sts that tGuM lead ~~ph~3ical prdblem5 do,Wft the rood, fake c:cu:e~ !Fa:!" - n!llJSon and because of he difFicuhje~ of redu'Cling lo.rg9 ~anes~ I make my canes small. rodudiorl' ccners haveliHte: chai,oe in the moiftert but InO! of us need not make massive eenes,

There are those who rest theircompleted canes before reducing them. In m~ E~J~"pBl~i'ence Ind, with ,my ,cla)'~, I find this ,only makes the reduction precess more . icult, Whatwo,rks for one may not work 'or anothen find what wod· best ryo l. The ,only hard-and-fast rule of reduction is that you must always work

_11 '..l' f' ",." ,. d ,tI:~ ·'L ide i 11'"

.j,!J. Slues 0' 'tile cane rom;nng'rowl canes er illpp~ng to 'tue next SI ,_ l.Q re~l,w:mg

, d" '1 'L,~ d

_uare an truUlg"C'-suape_, ianes,

DU'Cl'ION 47


Round canes are the si'mp~~-s:t to rednce, Simp,ly squoeze and rorete the da;y ttnril it softens aadbegins ro move. Once the ,cla;y is movmg, the cane may be pdat:ed,(ln yOtlt work surfaceand rolled '1:0 and DrO to smooth the su.rmoe and OOtltmllle the reduetien. Whell tile clay is soft tbrQ and through, ,you -.m~)' even gendy pull the ,ends "to, stretch outthe cane, Ron,stletch~ :roU" stretchl

1 ~r;:u::ot:d c~~d:;~~:::=:::' ;e;~:;

grasping and Jigbdy squeezin_g 'u'le cane in the palm of your hand. Rotate and squ,oeze unom tbe cane is softlbrougbour..

2 P, ,-, 'll,~[h~, bwnone, '" e_fl,dof,H, h~ca, o,e," ,as, ) 10, u~10""" .. ~,_"",,=,t1ihe eane end. Pinch the' other end Ul the same fmslnon.

Here isa picture of the cane,VJi\thpinehed~dJown ends, , 'With leach reduction 'of thecane, I pindl me ends in [he same l}l~~ry.,

4 Place the cane on your work serfaee and roll down the , center until i:t is the same diameteras the ends, The cane. slice hese shows tbe minimalwaste at die end., If you Msh ~o .reduc.e Ithe cane furtber" f,epeat steps :3 a.nd 4.


_-~_- ~- a squru"e cane is a simple process. Here is 'R square

,., - - I'

- or me.,

b. I' squeleUng the cane between your palms as . Turn the cane 90 degrees and. squeeze the ether the me. Repeat until you fed the cane so', en

can also place the cane on your wo~k surface and ~~-l\ith your palm. Rotate ,th cane to pljess- the next nrinue rotating and. pressing.

your 6n.gers,.pufi out __ nd venne the corners of the e\rery sc often

nnue pressing the s~des of the cane and refinina comers, W:b£D.rhe cane is ap,prrocimlteiy twice its ~,a,;,Jength, rolleach side withan acrylic rod ro ' mooth

;:_e ~

Gras1,p the ends of the cane and twist back and forth:,. twisting.moticn is very ,effeC'b~re in cane reduction, isr ~nd 1gently' stretchthe cane ..

Pe iodically lay the cane on your ,:vork sur ace and holding '011e end, stroke each side of the length of the e with you~r flat fin,~ as shown in the picture .. Flip' 'he e to he ether C'B l _d __ peat. You may also pick up the ::2- e hold "one end (d~l cane "fill be dangling loose), and

-rroke two sides with your ,fingen' in the same ¥J'ay potters

th·L··dL eir nan ~ es,

R ..:L . til·· .~L. •. d '.11 ":L

epea~ mese steps nnti ·UlIC cane ~s l!el~UClec~to me

desired size, As you reduce the cane, tty to make sure -t the cane is of uniform size ,throughout it length. 1'= iit

- thin g,e!' .in areas thin the :adj:s1cent cm,re (pick it up and

E:< n.tly stretch, or hol [ and stroke) to march the chin parts. Here is a picture rof th ~ origin _ lcane, a reduced piece, and a fou:r-d01t cane made by dividing and reassembling dl.'e reduced piece ..




Redu:n,g a triangl-- cane 1$ s .• 'miJ';,r' to ted:udll:g a slqUiUie cane,

1 Beginby:;que Einglhe sideS.of. '~e can,~ge.ndy to s~ftenthe inrerior or,th.'e! cane. Here you see I am holding the cane and- aJppJYlno, pressure to the 'tl ee sides at the same rime. ¥ou could also place the cane on your work surface and press two sides of the cane, then 'flip the 'cane 00, the nexr side, preS$] twe sides; flip- and so on,

2 'w~e .. ~.tbe .. __ interior of.'the c. an. I,e is soft, pl~,ce. '~}:c.can.e ~n.· !our w()r~~_suIf3!ce and g~ndy pull the corners of the cane .. I, ontmue pulling geody au all

',co,rners '110 stretch out the cane ..

3 'G.' '. rasPth.-.1e. en. d. s .. ' o.,£' tl.l .. e .. cane and twist back and fa rh, Once again. twisrillg

",L ,. ,C{!"

cne cane IS most enecnve,

4 Gently stretel an - M1$t' the cane. c .~ the cane does not stretch un'rrormly; 0 that there uleparts that are ,thitkertbal1 others place the cane on :1'00[ 'work: surface and even i ' up by st~~clling the thick pat s to, ma,tith the dun. When the cane is, even, and good and soft b egiln reducing the eane rord!ler by snoking its length. Place one fin,ger 0:11. one side of 'the trullC and yOU..I' thumb on 'the other, Gnsp one end of the cane With. yoor other hand. As you stroke th two 'sides of [he cane, concentrate your movement Ion the place wher _ the cane meets :)"0111l'

rl e: H 1_~ ":iIL, ., l' iddl iI"'"' d .

wo __ it surrace, "- ,}~U srrose :LIIJJle cane an tne mL . I e, you VJ.:t create JD< "etj'la.tl0JllS,.

"lip die cane '['0 the next side and f peat- flip and stroke, Flip 'the cane over [.0 the other end and repeat, Continue wor.kingthe cane from both ends until the cane is l~-educedta tlle size rOUl want.

5 il'J he orizi 1 ~., . d JI u d Here are t e angma cane suce a re ucea S ice, an - I

the kaleidoscope 'cane made 6:om the' .reduu:'ed cane, As you can see by concentrating the corners 'wh, n sttloking the cane, 1 was able to make thell1 quite sharp .. ,

Odd-shaped canes may also be reduced. This particular method of reduction requires some experience and that the ,clay be Y.~n oonditioned and soft. SOl, it Eli best to reduce these canes immediatel after making them. Gle_ntIy grasp the cane ends, nvist, and :sltOwly pull apart. Twis: and pull until rhe cane is, [the 'size you want, Some canes may be reduced in the conventionalmanner then details restored by in.denting the lellgrlJ of the eane Wid, a

- -

.- dle '111 neec I,e tcol





• IE PROlE rs, rou will wam ro place a roundelemenr within a cane' of shape. The easiest way tel do dns is "\yi rh overpacldl'lg mel cutting 'which -......,;_.=...., 'peI'£ect~y shaped canes. In this, example, the gam is to make a square : ~ an orange ring in the center, The "doughnut" (olr bullseye) in the ~_ 'vas made bv Wftp'ping a black ~ylinder with a dun sheer of white then -~ sheet of orange (made by wrapping twO thick sheets around the core)

- thin sheet of white again, &ound this, three thick sheets of black day

.rapped, To, ensure the most accurate cutcing'"l recommend a thick, DD,t lade, Herearethe s:teps for getting that o:ice:) eVtUl :squ:;u'e eane.

'irh a bbd - , mark the Ia,ce -O'f the cane with a 'sq~la,re. The ring should 'be - mred '\Nithin tbe quare,. . '5' you can see from this picmre, wbere the =-------_- rs should bethere is no clay.

- t:. '. ...c. .. 1., ~ _1.. h f '1~ 1~ ... _'11._~'1_. .11 . .~L_ . ..'IL b'lll k ur .IIl0u[" strIpS 110m, 3, IwJJ~ s ieet 0' ~(;l!i. Cut]! :anupre:s'S mern to tne osan "

mers of the, -squat'e. Now [he comers are filled .. Re .. markthe squa:r,e 'Wid, _ lade.

rom a corner, mark the length of the: can ~ with the blade. Repeat, marking an adjacent '00' ner [ill mike-guidelines O'D the side of the cane. (For other ~es, 'use a cutter to' m,arkyour ,guidle.lines.,)

Follo\ving ,til - guicleline-s slowly cut down the leQgtb of the cane, rocking the blade down one line, then (he other v oiking slo\viy do,wn the cane until nave cut Ito yOUI' - rork surface, Re'move the excess clay. (This: is, a method

playedby' ~rti.s, Sand.r"l McC:aw~) Repea . marking an adj!ll1cent corner,

'C,o:ntmuc' cutting until you have a sq"uar,e. 'Tum the: ' .. am! over to make certain that the ring is centered on the other end. Trim if necessary. ow you ha1 e e ,our square caflf . This method of overpaeking, then cut [~o.rt" m;lt_ . also b iployed to make round, oval, rectangular, and triRngular canes, S.imply cent r image, then press a cutter ,on tiu; face of an olverpacked cane, Follo,-ving the pressed line~cu.t tbe excess ,chy alway until the eane is round, oval, I'eeta:ngwa.r, r rringular in shap .,





The ,~mhet1d'lng process Wf1S tlSed tCJ "eaie tlJlJ-s,e l{Xl"" ,~~fldJ.

EMBEDD'ING YO,UR C ," E LICES fight into the clay or using them as onlay elements is "our choice and "rill dependon the particular piece you are "'laking. If you are e1nbedding:, the goal is to smooth 3l cane slice into day 'Without suhst8l1.tially changing the size and shape of the' original slice and to embed 'so that you. tt.i1;fiDOt Feel the edges of the lea'O!e slice at all,

The thinner the slice.themore true tOI the original cane, itwill be. 'Thick slices ~":iU move and eli· ,tort more ',,,hen smoothed mto hackground sheers+-as yo,u roll the cane to, level the slice 'with the back_gr-ound some aCme cane slice will embed it,s;.clfjO'· 0, dle baekgroi\'l.nd~ but most of it will move aeross the sheet surface, 'For tills reason, you ala, want " our backgrou_ld dl.Y to be close to the same softness as the Iclly slice, soft cane slice applied to '3 stiff bacltground, will move mere aeross the background surface sndwill resist embedding into 'the background clay" On, the other hand, a ,tiff day slice ap -lied fo. a SlOf1~ bacl~gr:ound will do the reverse: It w:ill. embed itself into the background with minimal movemeat across the background, but you may nor be able 1UO leasily remove the linc' created by '[he e;dge of the s6e ltself There: may b a. 'time hen y'ou lind these v orking characteristics useful in JfiOur work, but as a general rule, the clays used mo'ttld be the same consistency for themostsatisfying end result,

The first thing you must 'master is: sHang yOU'l~ canes 'thin. Onee vou have ' ut the 'thl'~D, slices, place 'them OIQ the cl3Jy lilgbdy~ then seeu re them, b" geDdypreS'Su.lg from. the center QU't. Here is the method I employ tOI secure I round cane slice.


-ur- a thin slice iI-om" a round cane. (In this case I am =s a jellyroll cane.) As you can see). the cane became ~~llat distorted, With your fingers, gently DQIDr the edge

- . .

~ "·e the cane round.

Place the cane. on the claysurfaoe-:bete a 1~W clay 'fad. Secure the center first.

Press the perimeter of me slice to the bead. I usually ~ness north and south" then east and we-st. then the - __. in between,

'/Vim a rod, roll the entire perimeter of the cane to the raw bead. Then fOU the center of the cane out .in all ,_cti.o:ns,. 'The clay will respond to the .direction you are ~g~ In; other words, if yQU roll from the center out" you ___: push the pattern out, If you roll from the outside in}

:.t will push the pattern in. By ernptqying both. style's-, iing out and rolling in you can control the way the' --nem moves.

Witib your rod, roll the center of the cane out in all. directions. Here . s the finished piece.

qny canes are made hy dividing OIi1 exist.'n9l?aUeI!iFi .C£lI'i8', tlt\en

:msembUng.l'he parts. in Q rllaw. war. For thes.&.eafles.~ and f'0l" =on.~$ macte·b,y ~v.el",f;locki os", wKen !,;vUins, Y(l)I!lrJ W'rnlt to fII'I a ke -.erlGiil'l thai the a.;i.t is. exact UsmQ 0 fili€~ :bl~e:will hel'p "p~vetl~ ~ day from grabbing on~Hor:qu'rlg as. you cuI.

WI~J1 clJlting .thin ~Ik:es Jfrrom CJ:sS€mbl~ canel5" yaUl cen IIse . .a

Id"'Of '0 thin blade. l1;e 1I1ill Modes cut deanly t~foiJ9,h si1'1GII

- fijles wMla f.hkk b~odeSc are more. l' and s-o work be'lter wilh Clrs~( C«tl<9·S. Wn~e ,he bl(:Jde wi~ AIFfn01"All ,olr woi'er tn pmV&t'l'1 d~ frqm sncking ..

Wh~h lI5,ing cane sli~. 5~~e, 'QS thinly and IJRifcTmly. es

. ~ibie. lTh:ck~uni'form sJitils eQn be tJsed~ bufyou must fj~1 dny, $.pQOO5 c9lwee;n ffie sl~ce$ wilt, more.GI,ClY'). :1 Cl),' s'l~ly through my ;nne-sf wotchirrl9 'the b~Qde posHian tl~, I tot, beoous~ jlt is :pos:sibl~. Ie mok.e Nino.r £l~irJstrnl9ms (l!o:ll~l ~le wo)l. Mru.r ohhe fime my gool is 10 cuJ verylhin: CQne sikes.

EM e E DOl N G CAN IE S.UC'E:S, .53

"..,. ~.
._. ;1,< "<;'::-
. .!'lrr··
~ ~1':
"- ill
'" :..I

~ ".

YOil .•. l13.'._. cv.e y .•... our.-" .. to .•••... o.l~ an .. d ...•. I .. y~u. r.m.· .... a.'t.lJ.e .. r. i.aJ .. s.:.'." ~.' •. o .• 'U. ' .. 'v .....•. e .. mastered some baste techniques you need, Now

it's time to try some basic canes .. In tile last section, we started with the most basic cane of all: the bullseye cane" a simple round cane, Many canes 'are variations 011 the basic bullseye or the basic jellyroll cane, and as you work you will start to see the similarities between differerir types of canes, I hope you will enjoy making the projects in this sectionand that, like the best polymer clay 'artists, you will use the skills you are learning to create more and more innovative and personal work.




BASlC 'TRIP'ED SLAB,S 'can be combined w:'rh :mille:fi,od canes to produce count ... less new effects. Striped slabs, 1.ivhicb are sometimes ealled striped-slab canes, are . used in mgllY pi-ojecrs. The pasta machine is 'a must-have £'0':1" near, even stripes,

You call v:u.y the effect bY' alternaring thicker and thinner slices",

,- To make a basic st(poo slab condition two colors of clay and roll 'them each ~hrou;gh·-the same thic;knes~ of ' the p,asta machine, PLace: one sheet on top of the orher and trim the foursides,

21£ you wish to maintain the thickness ofth . e ~ayers 'as they are, finish hy cutting' the sheet in half and placiQg one half atopthe other. For aslab with thinner stripes, IOU the sheet through -the pasta :macbin€ :ag:aill,., Finish by dividing and stacklng two times to £or1"n a slab. Trim the four sides to even up the slab.


1 n J" l

1f!~':UH i'lnttJ'IlJ'S are

aJwaJ~! well {l~:S$fdl Thisfro,ggy follow, .pm·ts a suit'011Z .(1. siJnpl e striped sJilb.

lllq:r~ lYNNE D E N~O Fo']" this lavely cho/tn; Lynne st-a~'tedwith (J)

.fdric swtltf:h, tlj'l!1'l .duplicated the p'tlttern in rtJ'ne!orm.

TF-[JS PRE'TTY~ UNUSUAL PIN is a. great VIray '.to use rhetedruqu:e'syou are le,al'JJiog. The pin is not hollow so it iils onthe 11e~vy 8lise'l TIle best .finditlgto use is· not one pin, back but two tie-tack findii1lgs, one 'secered to the back of the :a.ower and the other at the base ef the piece. I used Skiw:IDiet, Blen.dstQI make my p~n'J but )to-u can use s!mgle-rolor clay '£Of the petals and leaves if ,IOU Uke'. 101' learn 'hOWto~ make Sldnne:r Blends (paige 107'.)

Cactus Flower Pin

re MAKi ONE PIN .. 'You WU.l, NEEDl


[Pasta tmac'h'iF18 Aer.ylic tod Brade

Fitne double·pg'i'n1ed ~,n'ittjngl needlle or rnol1dre~

Tbkk WIII'IS t h5 gauge or 1 8J Qlluge'~

Ih~1rnt w;re ('20 gouge 'ail" 22 gauge)

Needle fQol

C~Ciy ,wtltrude'f SUth. CI~ Mokih/s, Clay' ,Extruder (op1h::mt'!tll

Sma [I round cuUllr,

sligh,tl,.. i ar'ger thainl ,be' ti e -tnck ~ock

lDeli pcp:le1'

Scalpel 01' X·Acto~ly,pe ClTOfft knlfe

f~ne1!,ri~ ;sandin" b icc k fine me!cd A~e

12 Ue tads

C yonQol:li'yla I ag~ue sitch as Kt:lbl p:o~Y9Iue

2 Trim Jhe wrapped s :rip neolly '10 mo~e (1 bUll ioin~ [no,

-.. erlapp i ng I. RaIl '~hEl pie-os on you r vvork surface unti I the seem is [oioed. Cut segmeiFll 10 cover exposed scrop clay. ~rasp 'he cyli,nder wiln ,he . humb and f~fS' finger 'ond gently espress ~he· ~nds. Workirlg one end 01' Cl time, d raw the'

: _'1 from th~, sides up end over ~he ,saqp ends, re a'~ing, as

au 90'. lif Or''''Y of l'ru2core ls sl~U shoWing, press ~I in wiih

;:: pointed bu blunl tool. such os 0 lo(ge-gauge knilUng "'eedle, then smaolh Ithe day over 10 covet Re~jne each end "0 fonn ancl,mond :shape. Repeat, making five olrnond-

I:: naped petals.

1 For the followrng s~ripe;d slabs: Ihil'l srripes-o block-andwhite slab end '0 deep green (green and black mixed) IClnd e block, gold. and crimson [one pori ~lrQ blue and Iwen'ty paris, f@dl sl'ob .. T~jck Sl:fjpes.~. make CI lime 9'reen ryeUow w'i'th o blr .af greencmd 0 smaller bill of red}' a~d pol€l!!im-e gr,een (whU,a: wiln Q bn of lime greenl slab. For rn,e flower pSlols and leo.II68.: MfJ9' 0 Skinner B!Slid plug opp(OXimOI~~ M. inch fall. Mtne was, made, wHh 0 deep crimson fred wi1h o ba of- uhra, bluet bl·endsd In pale ye~low(wbih:! wHh a pinch of yellowl. For t~e: How~r leoves: MaiKa o Skinner Blend plug approximately 3h. inc'hloll of green and. yel'low_ Or use solid colors for hss.e el,aments.For !he flower petals; Roil 0 sneke of SlOOp day 1 inch in diameder and 2 inches long. Wrap U wi1h a thin sheel" of whUe and reduce. JO

4. inches. The diamef,er should be 5/16 inch. CUI' <0 slke hom ~he Skinner Blend flower pllug, flalh3'O it wuh your acrylic rod, ihen 'roll H t~rough~~ '~hickest sa tln9 of Ihe posta machine. Resehe machine several Urnes end roll through ecch l:ime'un 'It :he slioe' is 0 very thin slrip. Trim I'he ,edge' Wroip the strip C!Fovndlhe' sneke,

3 :for the slem: On 0 ~ine kniH11'l9 needle or mandrel, piece' a 'of' scrap day. As ilf yau \...rere- ,makingl a LUbe bead, pinch' he ends end fO~~ ll oul lml'il r't is oboui ¥':6 inch in diomet,er. Cut a 14~iOch~thick slice Hom I'he black.-ondwhite: smped slob, Roll fue slirethrough the posta machine, n.~'se~i ng end roll ing unNI i1 [50 'VelY ~h in _ Cu~· I·he lsod i ng edge. W,rQP he sil'ip around he cylindet~ cu'lin,g neclly 'to make, a bul'l jO;[rn··. Repe.(1I'. wroipping~he (;)flinder with' he bl'od.·ond·whifs' SJrlpes. RoU to jOin seams. Guo:sec~iofl

1 Y2 lnches 101"1.9. Riemov-e, [rom the n98d~e .and sirde on~

'0 th~ck-galuge pioo~ of wire,

4 Cimher the ~ ower pefol.s and arrange them on your work surface. My piace has 'two pek:lk iim t,he beck K;wone!: three in ~he' front Pinch the bottoms of the peiOlI,s to9:fHher.

for he "OW~f base: Cu' Cl slice ~om the deep green and block sl'il'iped sleb, Thin ~he sl!es, wUhthe pasta maohine. Wrap U oround 0 cyllinderappn;:;x:imor~'ly 1h inch jln diomet,9J. usr Os you 'Ywapped 'Ihe bluck-ond-white smpe elround !'~e day to maika- 'Ihe stem (do 1'101 use wire), Wrap the cylinder several times Rollro smooth seems. Lay whe piece straight on your work $urb:e and cu~ ]1 in hollf.,

dr vtd i ng il:s wid !·h. Pick up one p,rece cod wrop II a row nd 'lhE! bose of 'Ihe ilower peiels,


5 WIth a needle iocl, driH lnlo one of 'Ihe petals in -he bock roW. lnserl the stem wire. Slide lhe :s:,riped slem up 10 !he flowert making sure Iniey ore in conh:ict

7 Extf1jde' I~ne block snakes ~rom 01 dov gun II recommend ~lh~, MokJrJ's ctcy Extruder], Pidk up, one s-Roke and wrap,jil oroend ~he bose of he nower pelli:l'~s Wrap Q. second snose Qr'Ound.

~ ess lhe HDwer fa your work surface fo ~aHen the'

~~d pi,ece you wmpped nroondthe bess of Ihe 'Hower ~ S:~ Th,isis wher'e one olthe Me lacks wiU IDe g.~ued, Qf'td ~ :jluch easi,erfo Horlen i'l at l'hispoJnt.

10 For ~he leeves: Rol~ c ~arge~ o~mofld<shOlp~d form Wi.rh ~mp dQY" Ci,;it ln ~a'ir as if you \NefE! ,ffloki,ng 0 cabochon. Smooth th.e sides of Ihe form by ,r,oUing' wuh you~ oflcryJic ttid .. Wrop fhe'u,~per quarter of the ccbochon with a th~n sheal pr' block cilay to cover SCII'(l.P day. \Nheo tl,e

s cool, place i10n a piece of deli paper and push the

-almond-shaped cabochor1i oversome of ~he st~lm and 'Ihe wire. P~s:h Ihe. screp day orQu~ld fhe s~eM and forc;€l~he doy down to Ihepqp.e'r. CI,S, ~ll0wn fn thepic~u~e,.l1he,R 'Peel ,ire paper from ~he clay.

'9 iRol1 01 m.6cHum·lhin sheet of blbek,day. Wilha 'Culler, CIUI (I disk close to 1he same diomeler Qi$i~e Hwtock base=ills bElne-r 10 make th~s c bu lorlger than 'Ihe finding. Press t~e dis1<:. 10 the ~lrnhel"1ed p,ieice. Nest the riowfl·r tn baking so~k~1 ond bake o~ 300°F I~r '~a m.'~nDJ~es"

11 Theleoves are mode in the scrne way C'S Ih~ pe.lo:ls. Use green da,y or a. 8hlC9~rom Ine sr$eH11 end ys,lllow plug. Oncelhe pelols ore ~ol'medj nnse:r~ 0: ~hin wire and Honen ~hem. 'Oul s,lrips. from the limegreell and paile, lime' glfeen s!riped sleb: Thin ;hem wnh ~Ihe p~s~al mocMM. St{lr1il19 01 tMe l1iop~ wrap ~h'e s:!rlpes omood Ihe lorm, Tr]m awoy~e excess at lhe lop end Ihe si'd€:s, ass,hown in the pr.dure. Repeat to ,cover ~h€ '~li'Ilire: ,form. Smoo'~h wiih ac:rylic rod. lnserl the wired I,eaves, next to. the: sh~lmf pu~hin9 'Ine end ,~'f~ lih,e' j,ecU inkr ihe TOW da-y. Curve leo~es,

12 Trim bonem wtlh ,0 NLlb~ode fOMoke 11' not

14 for 'Ihe- backing: When he piece is cool, FHI in .any voids in ~he back wi,lh raw doy, IYou mighl find a void next to ilhe embedded slam, for ins'ai1Ge.~ Roll a medium-'hin shea'l of black day and p!boe ~I on a. piece of dell paper. CuI 01 slraighl edge. plc,ce the llower pin on the block day~ dIgrl'ioQ Ih~, J~t~oi9hb:::.~JI' eagie with the lop of the Ofcallor"' you made in step I 3. With a soclpe'l, cull,he bloc\. dol' mound

he piece, as shown In the piclore. For .the final curing.

WH:lp the ,flower wiTh damp ,paper owe ling Q pre~ent any pos:Sfble color shif. Bok€:.GI'I 3OG·of fm 115 minll'les.,

62 eRE-ATrNG WllH MILL Fl0iH

13 Ro:1I Q snok,e of, scrap ,clay 1,14, inc,h In dJomele_L Wrap n wuh ,0 thinned~:lr'ip ,el) from Ihe crims,'OrKlrld·gold sl',ri,ped .sl'ab. Cut he covered snake in half. and wrOlp one hair mound the rose of lfH~ lea ..... es. Trim excess, Bake or

] 0 minutes. at 3501lJf.

1 S Sand the badk ond rhe striped 'l''Oil of th€ piece wilh c flne--gril sanding block .. "Cleon up" flowers and leoves by filil'119 with 01 Ifine meted ff~·EL Gl'lJe one l'ie I'clck 0 'Ihe block disk i'l"l bock of lhe flO"N9'p cnd I'he other rieur .Ihe bonom of ~he piece.


- _ m'LE lMITJ.\:TIO_ - .BONE is made in the same way as, 'the Basic S:trip!ed omhinin,g white clay and translucent clay produces a. slab with the offlor ofbone,

dition and roll a sheet of white day and a sheet of translucent clay ugh, the thickest setting of tile pasta machine,

- ee one sheet a.~op the other and trim the four sides, Ron .the new-sheet

- _ ugh, the pasta machine, still set 00 the thickeet setting .

.. ' thisstriped sheet ill half, place one halfatop the oilier, and roll through _ in, Everytime the sheet is divided, stacked, 'and rolled through, the lavers - ome thinnerand thinner, Repeat MO more times,


Tbis Jtlu.~ brme'netkJlJ-J:e

i lnt]d~ii'()m striped Jla!Jr Cl'n'd !ndlslY8·do·ts. T,h,w ,pieces 'were mtt]~fluf!d with oil paint.

, - ''t.. 'n~ • ha u:" md ,'II '16. lf th ther R

ut tne sneetm iaar all! p:.1ace ODie aa ,·atop I~_ e 0' ier.xepeat rwc more

rimes to' make a thick block, Trim the four sides.




;nO\\TPANE CANE is made of several bullseye capes" put together for 9. riudowlike look. This techn° que, grouping canes Ito gether to create ~ ~ ~ew cane is important for the complex canes we will be m,aking·la:tel·.

'"" bullseye cane. The one shown here is translucent, Wrapped with x ... then black, the 'cane to a. square shape. This reshaping eliminates ru.t pockets might occur if you simply pressed the round canes together,

___ """,,_.C'e this cane so thar it is :at least 12 inches Iong, Cut into four piecesof __ ual length,

eassemble me four pieces co :mtkea square windowpane cane. T~be, comers auld meet, .' lnd the black lines 'should appear uninterrupted.


P4)O bri:g/),t pen,t;iants' ,spotlight wi:rufo.''ll! canes.




'Tbru ''Qitt1atio1:],J on the ,p~ Art Pin'SMw bow ,th,e tan ,1;,(1 J,ts.etl t:f) ,veate. diffor.m'l io'Oks.


ZIPPE,R CANES look Q! link like zipp;el"S' with: in,termeshed teeth. Th~y adda cheerful striped, eff(:Jct' 1,01 the Pop All'it Pin and other projects.

l' Be., ,~in, "bY roUing a,' 'Sih,'Ieet ~'f_ h,IIl'*ciay .throng, .11, a t~n $ett;mg of the pasta machine (I use se'umg 6). Cut the

sheet in halE Ron a sheet of gJl~ien !day througb at medium, setting of the pasta machine (I use setting 4)., Stadt. up the 'three sheets up so the ,green. in the middle'! as ShO'WD

., ...::k.· R' ]]- ";I~:~ 'h- 1.. = 1":1k. ' L: ,_

mtne picnue. _,0 .tms $._ eer tl,iJj;,OUg llJue pasl!:}l macnme on

thesecond thickest setting" then cut the sheet in half

2,N, ,'Qeof~ s'~ri~edslabin~3'~m, _jn~e,~~tsj' uS1ng a Marxtt tool or a ruler. Cut the ·slices. and oll each

through the thickest setting of the pasta machine. La.y the slices made in step 1 on one half of the: sheet. Roll ,lVith a knitting needleor an acrylic rod to j oin "the slices u))

3 Press . t~~ O't~~~ .l~alf on d~e Stripe,d. side _o~ the sh~t. _ Roll "\7'} th ft knimng needle or aery Re rod to secure it.

The completed cane is shO\NU here.


Pop Art Pin

ART PIN uses the simplest ofcanes, plus asimple striped sheet cane. successfiil result is the a.crul:a!CY of the simple dot cane (an over- n;: owpane cane, demonstrated on page 128) the carefully embedded _ and finaill~ the finishing stl.uwng t'hat creates I smooth surface,

_:"'~ made in the p:roje,ct appe,m ae left. Tve included d1E~ other MO to different finishes. The one. in the center shows what the piece would! if I had buff-ed it to a 'Wgh sheen, The piece on the right s110W~ a. -=~_~_, color scheme and a satinsheen, achieved by btlffing 'agrunst worn, denim.,

19 MA,KE G'NI! pmN" YOU WIlli. NEEDI'~


IP'Qs,fa machine CuHil1g blode

lhick ~Jlli'Hii1g needle- or bress ~ube


SooJpe:ior X-Acto-type] craft 'kniFe

Kobli Clear Medium

, H€r~ me· '!J,e canes you win reed, 0,10.119 wltnQ slhe€ii'l Q~ green·cloy· ond ihs,' hoor]·s.haped cabochon tequ]J;edlo make jh~s pliece. The! cones Cm3: ~WO simple builseye cones, (!. dOl cone, C:I nd n zi pper cone ..

3 i1r'illilil the excess c~o,y fromlhe' ba~k of Ihe cabochon and thM. h;)now~n.g Ihe scribed llne, cut and remav~ Ihe .excess. cane f'rom 'lhefrO!l1.


2Wilh liha; n>ascUs '~ool" :$Cr1b,e, Ifle line thol willi diVtde Ihe d:O:l~(edpal~ern fromlhe greem pan or· the piece, Cui sliceS" hom the· dOl cone. lfrying tQC~t them fhe ~some t~ic;kn€'s5 Un Iht5, case. I do 'fIot tlJ~ Ih@ml'll ~~Iremely Ih]n). SItJ1rtingot the lip of the he'art" lay a sHca 011 the cabochon .. PalldoWfII !~he sides Ir9h~ly.

4 Fick 'Up' and poMion anolher cane ;1,;tic,e" rn_Oiintairnriog IhE dQ~ paifem. Cui end ,remove lthe' excess do;y from Ihe' b.~G~k. LOnllf1.lJE!j pladng slices os needed air'~G ~rimmifilg IFrom bath fh~ front end bock oflhe piece.

- -:- green clay through QI selling Ihat is appro>dmo,lely =- ;,J,S t~e tht-ckrte$s. of ~he c.ailie s~ices. Illn my CQS'Elj

- - e day Ihrough seHlng 7 of my .posta machine.

- - - blade. cui a curv€ lihol' opprOXlma!tes, the ,curve

~ :xi paltlern on '~he pi ii!l c:e.

Smooth I~e enlfire piGCre wilh c. knill'ing needl'e or bross - ... OS, ,concenllraUng IOn where Ihe cone sllces meet and ,9 re he green sheet meels Ihe coned pori' of the pi€lC€'. 'I en you ere done wrh ,his sh=P. eV6:fy1hil19 shceld be ined end smooth.

6 Pbsilion ond phJlce' he green ~hee·t on 'Ihe, ccbochon i odju:$ting 0.& you go to match ~he eurve.

In lhis piclure, YOLf can 5eelhe bllRse:ye CCH"!,S' I for Ine' p:etol',s. ~ was 0' bi'l large, :SQ I red ced Us size .. lhen pine-ned o.lon,g Us length to crecte o pe~aI shape. Cut I'hin slices and ploce them on th, doy. Irirn the cone' s~kes I~O ,conform to the curve. R'ol.llhe slices in, cernple ely embeddin,g them. You s;~ould be able to.nm your 'fingEus across he surFoc:e' of Jhe pisce and nol·leel any e.dges.


91 Cuil 0, hin strip from Ihe zipper cane. This piece should 'be thin. bUI nol so hln l!hol you can see fhrougrr ijt to the paltem bsbw. loy',his, piece 'Qlong'~h~ curve (md press" it ~'n. RioU to com1plelely '9ln'lbed ~he strip inio the piece. fThl~ ls rmportanr-you don't \Naill 10 s,c;md O'WrJI( the ZippiSf ccnell

10 Pre~~ Ihe piece ~c.(1 cB'rami'c iile' and 'bo;ke 'for !'en mrnll~es at 300°F 'VI/hen I,h,e pi,eoe ls cmed and cool. .sand lhe 1 r,onf. :o€:g['innin,gl w1lh 40Q.gri'l so dpoper. Foillow UJ:' wil h 60Q.grii w~Vd!fY sandpaper. [These papers will smoolh Ine surfocG' vsry·quick~ but you m~sl look at the pi,ace oOl1stantly 10 make eerla!n YllU do not send away ~h8' polfem:s'!:j Sand the bock wUn 01 ecorseglrit sClll'ld~n9 block I.m'li~ n ls stllo,QI~. Ihis pin b rcHher ICHge~ I have opfed b us:a lwe tie "tacks ij)s~eod of a pin bOiek. Gtue Iwo lie- lOcks onto the boe oif 1he piece; as ~howrw.

1 iRolllo sheef of bee ing doy Ihrolugh (] hin sem ng II Illseo sa ling 7). Place, Ihe sheet on a piece ol deli paper. P'lress the prongs of I'he tIe' IlOcks rnlo !he doy. To ~mp'ow Ihe adhesion 6elween cered and' ,rawcioy. app~y.o lJery Ughl cool .of K(lio

C lear Mad ~um to the back of Ih~ plece,

70 CI:::EAllNG WITH MIlLEnOp.1

12 f~iip over rhe piece, removedle paper, and,

u sIng~he' holes mode by the p fOOeS to ,glU f.d€ YO:LJI, press l"he cloy tOI the bQck of rhe pfeee '(]I'H:J ov-er i,he He 10 cks.

13 W~lh 0 blade. trim 'I he excess day from (uound ~he pleoe.

14 HSil:8 is 'Ihs- back of I'he pm befof.e baking. 1 \te, o:l:so rem,ar!nbe~cl 10 cdd my si9,nrlj'lJiI;~ cone

sl ice 130 ke Ihe p~ecero f an odd ihO'FMJ I I'en mi nu les of 300Q'E Whelfl curing a brg€,r nClI~backed pin suet, a~ Ihiis, ~plo(;e ~o t"ef'Omic llles in my O\llsn end pul ~he piece in i~ate. up 5'0 1'1101 ihe p.r,onigs, oif ~he '~ie tacks foH between ~he MD t~I'es, lhe prongs hold: ~he pi~ce i'l':Ip;:>z,iIHon. A~I~Jnoti\i''9'lyj emibe,d Ihe piec~ in 0 bed of bOlk(ngsoda f,orlhe cuning.



Zigzag canes aTC polymer ,lay pop art:


I (OqJered' a i:()'~ ilo make lhiE odd it,tile bex ftattlring zigzag C(NUtS .


ZIGZAG STRlPE-PATTERN CANJ!:S per-fectly illustollte several .millefio.r:i principles: division, reassembly; and reduction, These t!f:;ch.rniqu,es can transform the simplesr canes into complex patterns. Begin with a larg:e'stripEd slab. You,make a version with two separate colored

L.t.... ,.~. , . tch i . half d .;., "'~U'1:T -d' , .. in."· ,;". '. "1,,

SIllWS~ ctlLung e3J ,UJI. ~ 'l"ga:nauJ an c.' men Uetllng0tl y

one haM of each 'to mike the cane,

8,eginby makin,g' a basic striped slab, Trim the sides: s-o that the face of the slab is square, or ~dd alternating layers to, makethe ace squaJ'ie. Stand the squared [cane up, [0 a .one end. and slice down tllnJiugh on the diagonal, (Artis\t Sand.ra IVIcCaw suggests «",ralkingrJ the blade down from sideto side.)

2- Sep~e th.c two halves. Press the~ together so~at the strIpe,s of one half are perpendicular tothe senpes ofthe other and 'tile ne.w.1.r formed shape iSJ 'a, :righ.t triangle.

3 Reduce .... thi~ ttiang~.~~(} " .of 4 ind~~s. Trim_ the ends .. Cut to divide rhis pIece into two pIeces lof

equal length, Reassemhle the new pieces together in. a.

mirror lmQ,ge. ~_

4 R,~duce this. ne,~ ~a:nle~o~ ~ t~I~a1 '~~~g~h of 4 in~es.

Trim the. ends, Cut to divide thispiece into two pleces

'of equal length. Reassemble as s:howu.

5 c .. ut this., pie.C".,ce i.l.n ... two and press the sides together as,' shown to form, a V.

6 Reduce thi s to a, rotal lengeh of g: - nches, Trim the ends,

. '.. ., .,.... 'R " . •. I" • " ..

Cut lnhallf and pmace the p[[eces side by S.1de~ foruung a

single 'zigz'a;g.

7· Cut the ~anein ~~aga~n'Rlld place one hg:lf arop the other to totem a double ·Z1gzag.,



THE JELLYROLL CJ\NE, or balanced. jellyrell cane, is used a;gain and again in milleficriwork.The shap e is. similar to. a baked jellyroll cake, with soft cake rolled around a jeny cill" J 11h ]1 '1... ..1:., r. J!i - {(·~lli·'· - Y) If ~ng. _ .e!l."J!l£o . canes can nave more cake ormore n ng

to· ~r:eate viS1iJ.iJl variatlons, A balanced j'.eHyrp.1l like this one has about the same amount of cake and filling.

1 Begin b~' choosing and c:~ndi~:io:n~ng,·rwo. o~~6n 'of clay for your J ellyrell.caae, Roll eachof the eondi tioned clays separately through the thickest setting' of the pasta machine .. Place one sheer ato·p the other and trim the four

d- _W' . ~

e ges~ malLung a neat ~'quar~ or rec~al1gille ..

2 Ron this squ:ue through the thickest setting of the pasta machine a:gain .. :If you \vlsb to make ,3 jelly:n)U cane with thin :scriping' and many revolutions reset the: pasta machineto a dunner setting and! roU through :e.gain.

3 Fold ~e sheet in hill; dividing the l~ .. Flatten th~ fold With your pushing any arr pockets out· of the fotd. TtiJD. the epen edge with ~ blade" 'making a beveled cut, From the fold, roll up tIghtly to the end ..


.~roi!e ll:Fii DONNA KAlO This perldarJ! ht8;nds

jel?J·roll -slices ,aud a Skinne~'. Blend botb' prescse,d to gold-painfer:l bla-tit . cltlJ.

Pir!OVi! RIGI'IT~ DONNA KAlO Haffa! this pendant fla; and

tn:mrillCrtnlJeliyroll cane ~;littS. Ber;t1.ii$e r;f ths micll;. t.hey s!Jmuner.


D'anie/ is a m;"ltitaletztea artist '"Working i1.1 silvtff ,andpo!Jmer' clay, Tbis sil"tJef' .ring is ,embellirhed witbfi17:yjellynill ttlne piece'S.

J EH nOLL CANt: 7:5

'I L E


]lVE U:8,ED THIS CANE in ~my demonstrations, for years·. It illu}strates how a ve'ry simple cane can. be transformed into a complex pattern theough dillis~on, reduc ... cion, and reaasemblj,

1 M~ke ~bal~'n:ced,~,~nyr'oU c~ne._~~~m. ~~e ~ds. Meas1ll13, 'then cut off a qt arter of the length of the cane .. Set this pJit!ce aside.

2 Stand the caae up OlD, one end and cut through, dividil~g it in half Rotate the Cane 90 degree:s 'and cur through again to form lour wedges. Reduce the reserved piece from step 1 so' that its diameter isabout equal to the radius of the wedges, This reduced piece is now the center of the. cane,

3 P .. la,c.e. .,the. roun._ d. ~i~e o.of b IOf the 'wedges, agaiost the center piece. This _ piece IS now roughly square,

4 Squeeze the opposing sides ofthe square together to expel air pockets :ruld, join _ the pieces, Roll eacll, side witha brayer to> smooth and sharpen the corners.

5 To create the 'tile pattern, reduce this new eaneagain, this tun.e to twice its Iength, Cut the cane inhdf ana place one 11m next to the other. Cut in half again and stack one half atop the' Ot!1B.




__ ........ .........",._ -7YPE JELLYROLL CA E looks, more like a snail's shill than a ~ ell) roll does, To get the .snail-like ,effect, choose clays with high Then make one sheet of day much thinner than. the other, When you ne the thin sheet will mimic the Iook of a snail's shell Use these ~d playful swirls to your pieces,

---,. __ zz - on t\'YO colors of ,clay. One color will he the prlllulry color and. the,

. - -\"ill he the stripe; therefore, you will. need. to condition more of 'he. lor and less of the stripe. Roll the conditioned. primary color day ~ .. e thickest setting' of the pasta machine. Trim the sides. Divide the = ~ three strips,

-. g an, acrylic rod, 82Jitten one end of ' the stack" taperingir, RoU the stripe : . r through the thickest setting of the pasta machine' .. If yO'\1 want yOW' feature a finer stripe, reset the. pasta machine and roll the stripe-color

':"'m,~ghagain to. make a thinner sheet, If "OU wish, to have a, bold stripe, _ ";b the cane, dont ron the; sheet again. When your stripe. sheet is· ueadY;1 e- primary color stackatop the stripe sheet. Using a blade, trim ,aU four 'iilia. blade, bevel the edge opposite the tapering edge.

rom the, tapered end, IOU the jel1yroll up tightly., The clay should be soft and supple enough so that it -will not crack as you roll, The finished cane -",-,al,S the contrasting-color swirl.

.. .


The:S8 translucent hlack ames 'were pltl~ed llnd trimmed to fit' exactly O'Ver O'ackJed mettJ'llecqf



8itnple guilt patte1·'~ can be made in 1J'Ju'ch tht same 'WllJ tu cbcder/J,oord' C'll1Jf!f.

CHEClCERJ30ARD CANES are full. VVIth their pn:!cisl.'! squ~s and sharp contrast, they offer countless eye-catching possibiliries, Think of checkerboards (of course), racing flag:!;, tiled floors. Less contrast Inthe Qq') will produce a more subtle effect, while hig!1 contrast sends: the checkerboard message more forcefully..

1- Condition two colors of Iday. .Roll each sheet tbrough the thickest . setting' of the pasta machine. Fold each sheet in l alf: pressmg air from the folds of each sheet. Then place one' folded sheet at()p' tile other and trim the sides with a blade. Cut this stack in half and place one half atop the other.

2- From the stack], cut {bur slices, bearing in min.d that each slice should be the same width as' the height of one of the: layers. 'You 'wan ea-cn' cell" ,ofyotlt cane to be s.qua'rt. Note that the 5mm side of the Marxit is-equal to NO sheets: rolled through the thickest s;ettiIlg, of the pasta machine.

3 S~p .. ,a1" ... te the fo."~,r slices and fli,p over eve?, o_ther slioe. Then reassemble to make a checkerboard pattern.

Press the slices together" checking 'both ends 'to make certain ilia _ the pattern is in proper registration.

7S: eRE liNG WjTH MIUtFrOt?!


Si'Jl'tple rhec/ur:[J;,oari rings rare a:r()lmd a starspanglill h~art.

lifT~ MI RA. KR~ SPU.

Mir:" Jinow12 0$ Pi'12'k1, s-p'IJtializ;es in sndpture. Her llnimais are 'luyfawrites. This gimffe is cOq};(Jre.d 'With chukerbw'tJ'(i {(]1U:£' ond .flowers.

CHEe· EReO.M~D CAN~79'





. _ ...... '-:: - "'. -.:' ~. - - - - ---

• :.. .~ -_ . - .• I

- ":-. - .:'" .

-_. . - - _-

THE ]]1(/\1' .MII.rLEF10RI TECH'NJQPE was introduced to' 'the polymer 'day community br Steven Ford and D'arvid FodMO. This cane bas the distil1ct' 'look. 'of iX'at fabric. Artists such as Kathy ibnt. and Susan Hpd.e h~V'el cre-at¢.d, 'I!:beir own ways tnre-create the ikat effect in ,clay. Here-'s one of .my versions 0.1 the theme,

1 M.· .... ·. - .. a.].~ :_.e·. a. ,me. ~ker .. b.'. oar.d .. C.' .:all.' 11t:'JJ'. then squashthe cane comer tocorcer Wid'll your fingers,.

2· . Ron the cane with ~n, acryHc rod, Flarren it tomake a . . .•.. . strip, just ;a, bit thicker than jhe thickest Stt:[iog of the p,astam:aclllne.

3 ~o .. 11 '~be. r Hatte~.ed._.'. strip through the thickest .setting' 9£ the p'3.Sta machine,

4· Cut ~~e mi~. j~ .hruf and ph~ 'one h~f ~mpt~e other,

offsetting slightly,. as.shown m the picture. Note that

offsetting at this :POMfit yields; a ,tight Zig'Z'i_g pattern. To make-a looser pa:u:er:n". you could offsetting the pieces until :yQU divide and. stack to make the 'fihisbe;d cane.



.. to

• •

51n_ehiSP.·1.'cwre, y~Q see the otigilJll1'piece fr.o._lm.step' 4 at left. The neXt sllce bas been rolled through tile, [J,lllst@:

machine again~ cot in half 'and stacked. The piece that is dlh":d from the left has been. ro.fiedclirough again and

stacked ~'1 .. t1··1· er diei .. i·",."" and stacki .... g_. mad ... · .,p:'n:"-e' .r;""'~l'L~rlI

~. _J;K ...... I~l.J Jr,"w ...... J U!rr·Afiii!'~V'tL.~ i~ J,!Ul; I~.j~. ~ • .!!;.~"/ ·~A·~IP.i ... ~ ~~,,,,,,~, JJ_.tu~\1~~U


MOVE lefT: These two pins fltllure cherkerboard ikat 'tl1U!$.

ASOVE.IUGFIT~ The sir/oi' ,rtf this ~nda,nf 'W,m made 'With a rh€ch.I!r/;'()tlJ't1 ilwt in gree1'.~: The spiml on tOf''W'as tml(:le:jiYJJn (l: Sl~i1,zn~w Blend rtriped cane. The nm.terp,ie(c is a plain day triangle;t~d gold.

1ll:F1: This l:Mm,·t jJendallt is 11'Jo.dejrom a ,!Jasketweaw cant ,tEal started as (J ,cbec/e:ttrltoar:d iieat Ul.11f!.





IL\LElDOSCOPE CANE.S are 'simply complex canes made 'by reshaping a single. cane into an equifateral triangle shape reducing it, dividing it" and then press' ng: the see pieces together so that the ,adj acen sides mirror irnage one' other. This process works any cane you might have, o,r1Ou

'k . t • • h I hi d"·

can ma'" e a 've:ry 'sunp,1Le version wit tr iste - :u»que.

'1" Condiitiontwo colors of day and roll each tht:ough th,€;

rhlckesr setting 'Of the pasta machine to make :I'll sheer.

Place. one sheet atop the other. Reset the machine so a medium setting and roll the two .. color .sheer through t.p ma~e a long strip. Fold the :sttip in half and, cut 'the ed~ opposite the told. From the fold" start to roll ,up tightly (yOI~:l are beginning witha balanced jellyroll).. Do not roll up the entire piece.

3 ,FiniSh 'by_, ro!l_iD .•. lg the t~ u,~p. int. 0 ~. ~~aD jenyr-oll:~~e longer ~be stnp- th.e more you can £Qld~ the more mtn-

carte the pattera becomes ..

4 Force the cane into a triangle shape.To make a 2 ... inchlong finished canecomposed of six repeatedelements redul~e this tdang~e piece '~O' approxima:f,:'ely 12 inches,

5 Trim the ends of the cane then cut the piece in haH;, di.viding its: length, f~ress the halves 'together so the pattern create" a minor ~mage,. Experimem by turningthe pieces and trying different sides of the pieces together to

- -

~ d' tIl 'Ii·

1:111 - .. ' . IE: most pJIleas,lng pattern.

6 Cut this ,c~,ne into ,~e"I~ilecesl. of equal length. PJre. them tDgerl1er to create the-whole cane.

7P, '];i. essall side," S ~:f the ~ane: t, o~d air, from between the separate parts, Here IS da1e firushed cane.


Hent are' s'()mcttl"1l'OS wed'

to emileliish' beads (ner.klace; left). Tbe ,n.ecklace 011, the' right illuslTates the use of the simple shee't methodfo' making kale£dlJ.srop'8 canes:


Here is anothermethcd for' 'IDa.lcing kaleidoscope canes.This technique, is perfect for using up In1 odds and ends of canes and (:b~y.

1 R611 a thin, sheet: of one color, In these p'ictu['es~, I have used black. Cut thesheet into a Iong, thin rectallg. rle, Onto, this

--t ..- I '_:.#.' ' I

sheetplace slices ft()~m strip ed canes, snakes of various colors

and: even other canes. Cover the rectanglewith, these.elements,

.~~---.,_.__ - _

. - -- . - ~ -":-. ~


.. -~_,._ .... ,. " __ . - -----..


2 T ... f."l.'.'.I.·.n.' .••.. ' ... e; ... th .. aa .. 1: .. 'IJ1.0 .. ·.U.·_ vnn., .•. '.'-.1. becr..-in r:o.finmGt.,. frorn. Frcnn 'tim

,~ . }~r b

, edge, roll up into a jellyroU.

_ .. ,,·· .. ·11'· .

, .'

. .

..... : \

-I ,;,( .~--_·-_:I~·· '


Reshapethe mass into an equilateral triangle, Reduce 'this piecetoa le,a,~ of 12 inches,

4 T. rim t.he e.'-.'D. d. s, .. 'the.n._. .,.c.~-.t1 t the... IP.i.~ .. ece. . in.. h.' alf, divi .. d.l.~·.ng t. he .. . le.ngth. Press the piece,s together $0 the two side-s fO:l'm,

mirror imag:es of €achother ..

I Cut this piece intothree equd-length_ piecesand ,arr,allge, _themm:o make a six-sided whole' cane,

6 ~r~:~.s the~:"". together to expel air from between ehe $I.eparatepi,u ts,

Here you see the Ican,€; from step ,6 reshaped 'and m;'lo.1]ed t@ create-a round. kaleidQso()pe cane.

.l8O\1~ DEf)E LEUPOlD

D:cde's beach andjeV1JtirY' t,:I't'e m.Uth in dema1~d. These D:e!ft bluepblf ihowl iff her lfIV:I!lj ,a:mIS.


This $}lett]" :neddiJce fi'(!Jf,'urp:sa Mt11t.idQs"'Cope can« o~ (l71:e side ..




Me.i.shtls use 0/ color; te~ture~ tl.rt.4patt£JrYl. G'J'I1aie simple yet elegont p'tIntlants..

!!;olTeM;. DONNA KAlO

Th-e' SiJo,p'Ci ,(1;1'/;'(1 eoi'm'! in these striki:ti:g heart pl!:ndantI remind me of p'tJi'11ti1,1.gS ~y the a~'fiJl GUJmv Kl'im't.


I CALL THIS TYPE Of' CANE a IGmt cane because it resembles the patterns seen iu rhe work of the painter Gustav Klimt. The bask technique-=-exullsion through ~ day gun and lexploiting the interesting ring, pattern it creares=-began with Esther .Anderson" who showed. it to me years ago,. The best inexpensive, general-use day gun I have found is made by Makin's Clay but this technique will work with other day guns as wen.

1 i\ ilr,~_. lor cal Roll h 'iI' lind

.1VUx. y:ourOO!l!iot palette. "', .eacn C()M{):f into :!at cyu '. er

approximately the: .same diameter as the barrel of the day gun you are using. Build a stacked cylinder by pressing '~ difJ£enmt color cylinder to a slice) then cutting. Press a

1· 'li" d . th 1 C'· b ... ild'

new COO or cy' n er to, tne ast one; cut. I, ontmue.jauu lUg

a multicolored stack. The arrangement should look random, so it works best t-o vary the contrast of the pieces.

2 Soften and roll the ~.mltic61ored ron against your work surface .. ··-it is best for the day to be $iO.ft and warm when. you. drop it into the clay gun.

3 Fit 'the clay gun with a square disk. Drop thewarm clay intothe 'barrel, then screw the top onto the day gun.

4 Extrllde the ~sk lfyo~ find i: diffi~ cult to extrude, try holding the hurd in a pIece 10,:£ rubber shelf liner for a better grip.

5 Cut the extruded day .in half and press the halves together, (I flip, one piece over $,0 the adj:acent pieces '"d .&~')

are not I·' entscal, ,

6 '?u.t~i.S,',' new. ,pi~e in ~al£:d1t:n press tile, halv~,'toge, the!; flipping one half to the other end to rmx up the cells.

7Re,p~,,a,t,,' rnr,-'.,° mOf~.tim, es to ~~"r.m, a large 'block, then ror the four Sides with an acrylic rod,

8- Your:Iamlt can.e is finished, Here. is my version, ; gl:eens" yellows blues, 'and a touch of Goppel'~


Klimt Pyramid Ring



fCl:3·t'a mOlChine ,Cloy eX1'1"llIder !ouch

es Malkin"s C~ay Ex'lruder

Kato clem Medirun~

('lInd brush

RepeJGel CuttIng b,lc,de Ri:ng form

Saki 119 soda in' pan 400 .. end 600--gfit

wetl dry ~o ndpaper

Fine n1Iietol Fi,I'e Sr;ul,pture mol (0 slmall spoon works well~)

ruNGS TAKE A LOT OF ABUSE~ 50 use the :s;ttong:estdayyol.t possibly can. Tile' dnK form used in this project 'WaS made by Rio Grande Rod is meant fO,1:' usewith metal days', Yoru may use a.metal cutter as a. ring form, I if you have 'one mat 6ts Four fi~ger.

, o'te. that the band of this, ring is off-center, It was an accident but, due to the

size oft~,e pyn\1ni~, it actu911y makes the piecemore comfortable becausethe baud sits' in the correct place on my fin,ger withou the pyramid, sitting an ~ knuckle,

Condj:tion and form 0 ~hick cube of scrap dey. 'Wi~h yo-vr bloQ9', ~,r9hJly impress 0' ~ine from corner fa corner, thell score f~6m the opposmf,s comers 10 make an x.

2 Siorl'ing 0'1 Ihe lnlelseetion 0 the Iwo lines,

make am (mgied ,CUI to Ih,e' base of' one Side of the cube, Repeat, ,c~ning I'h~ foUl' sides ,oi Ihe p~f~omjd+ My 5C!OP doy contained some pearl day" A liUle metolhc doy mixed in wi,I1 he~p you cot dean. os it sUcks 10 Ihe blede less.

3 Cur f'our thillslices 'of ,eCJu-gllll'h~ckness. from the Klimt Cane: block.. PI(lce one slice o~ Kliml' cone on one slde of ~he pyramid. Tum u ove~" ond wuh yom blode, cuf away' the' excess cloy. Repea~1 piecing a slice on the next side of the pvromld.

. C~we-r ,the Iremaini,ng Iwo s,jdeSo of rhe plframid

in Ihe rome ma'One[Bo~~,f'Of 15 min!ule$ .. AFler the pyramid IS cured"sond Ithe s,ides and bottom of

I'~ e :pyr'Cl mid"

5 RoU a thin shee~ o~ black day. Brush Q hgihl coot of Koto Cliear Medium on ih,e bo~om oj the pyramid Place Ihe doy on he bottom of the pyramid end, with 0 blade, 'Jr,fm around Ihe four sides. 58- oslde, Onto mhe ceromic ring Icrm, oppiy a (:oCJ~lJrn.g of Repel Gel. ie ~he g19,1 dry.

6 R'ail 0 medium~lhin sheer of black day-mine wos rolled through ~ettir,'lg 5en my Makints, moehlne. For comiorr the bond of ihe rrng ;$ho~ld not be leo thid or I~OO wide. Cui C~ thin srlp, obouf- OM inch 117mml widsf hom the sheet of day. Wrop i'l around 'he ring. [arm" cuUing' away the excess 0 ~form 0 bUI iO;inl.

• 90 CUATING Wlnl MUlEfIO~1

7 rosman and press Ithe pyrom]d onto fhe bond of ~he ring~ coverifl:g 'Ihe bU"lt loftnt Push Ihe Iring into a brad or bakingl soda for support and bake for 30 mlnures at 300QF. Wlnen cool. remoV'e'lhe ring from :Ihe form. Then lighlly sand he bomd ond Ihe bkjc:k day on Ihe bonorn a~ 'Ihe pyromid wilh 40(}grit wet/dry scndpaper,

wuh soh block day. fill lin ~he spcce between ~he bond ond the boUom of the pyr,omid. Then" us,ing (] sculpure toot press day into ~hespoce: be~wee'n jlf,e bond and the pyramid piece,

9 finhih by IrimminQ th~ee sides of Ihe band willh a blade .s:rJ tna'll'he bond meets Ihe bock of the pyramid neotly~ Bake.o!goin tin bOI:king soda 'fOf 15 m!nule,s, at 300"'f_ Whe'rlI i' lscocl, send Ihe eol'ir,e Ifilng'. Jill difficulN'areacn orecs, use a flile.

hen follow up wn~ nne-grit sandpaper.





TrIE8E CAms VVE,Iill· DEVELOPED as a rl~':fuJt of 't\¥lJ ,t~hings.: .first, because .s andra M(;Caw sh,owed howshe ~~ter.s the appearance of canes by~herin!lfheir overall shape;, and second, because, at an artists' retreat, Shru]e Smltb demon-

. . . d 1-'" '1-' . h d' d-' ~ , . S·'· .. L ,~. '~, l .. ~C. ,. 'e.' •• L" 'l"'~ j\~ 'd-·.J·

$tu::t:e - r ';v lat ane aa .c ,6n:"e 'usJng ." ' anara s S!lape~'!3niJ! tmg, uan.wa s;a,ys :s' aes . ,~. ':UU];g

gnt-C~:i~~ .-and tha;'t's ex'.lcdy what happens.

W'ha:t 11ovea:~~llt the canes I've made: us:ing the same principle is tb~l: th,e.rc is nocane ,p'adking. with one simple element, Tll]r this tf:cb:nique' wi'ch. -canes that you dent ,particillaily . care fQir----jlOU might be pte~ant1y. surp,rised by wha.:~ happens,

Ai~: D'ON'HA I(A10

T/j~,e two littie ,boxes feature shape-lhif.t.i rIg ,~:~u:s.

RtG!-liI'i' SAN [)RA McCAW

Slmarr:f,1,lIs UJed Skinner Blau»' Ii; ,a-e:atiul1ring hig1Jlights;,.girelng ilNlSIl etJJ'?-i:ng5 a i/:;-J''ett-dim(J1!S!Kma) app-ea.rt1'f1&e.

--L,RN 1

_ .- Iluque starts with a simple bullseye cane and builds _~l.e 'an intricate pattern. Use high-contrast colors so rrern Mll s.~y clearly visible through all the steps.

- -- ,~ c by making a large Skinner Blend bullseye cane

-ee pag,e 119 for directions). 'i\lrap it with, a" thin sheet

- rher color (1 used. black).

,Vrap the cane with a sheet of what will be your back_ ound color, as shown in the picture, If the sheet is .• more of the background will be shewn; if it is thin" of it will be apparent.

Reshape the bullseye into a capsule shape by flattening with an acrylic rod,

Reduce the slab and divide it into three pieces: of equal length, Place them side by side and press them into a - ~ are. Refine by rolling each side with your red,

5 R~duce ,the cane and diVlI?: it ~nto four ~i~ce~, of equal length. Then ~rrange the pileces m a basketweave pattern.

6 ~ushin th~_ cornel:S. o~ ~~S~~M .. re, making the cane lOUUd.. It will not be a. perfect circle,

7Bring the cane back to a square shape by pulling out what were the centers of the flat sides of the original square c ane,

8 ~duce the cane fimher cut it into. four equal-length p1e,ces" snd reassemble them as shown.



_..- -


This pattern is made by ,r,esh~pin;g a bask square-faced cane into a triangle-ehaped component, The component can then be assembled 150 create cli.ffelrent pateems, In this case, rve begun 'with a simple sniped slab,

1 rvfa.. ke .. at striped! slab, 'Trim it 80 that the face ofthe cane

i'. .

liS square ..

2 Place the cane on your work surface SQ that the stripes are.perpendicular to the: work surface. Push against one side of the cane", augrling it as shown,

3 Force down the top edge so '~at the .. aer side bes .£l.:-:tt against your work surface. The square-faced cane is now triangle shaped, Reduce the cane to a length Qf 6 to :8

_ .

inches and divide it intotwo equal-length pieces.

4.MakJe a Skinne:r Bllend. bullseye cane (see. page 119 for . directions) and \~tap it with a thin sheet of black. FOI-ce it into an almond shape.

5 In.seItt.he aIm. I. ond-shapedbullseye between' 'the pieces fro.m step 3 .

.. ~, Press the triang1e-shaped pieces around th~ center ,I piece. TIlle piece 1S now fan shaped,

7''TI.O ..... squ._ .. are.' ~.t ~p.I~_.' .. pu .... sh th.':-Ie cruu.e .. a.gaillst your work surface and force It into a square shape,

8 R .... educe the c~ne to a length of at least S ind~e~. Trilu _ the ends 'U]ltil the pattern looks' good and divide the pie;ce into €ourpieces of equal length.$ them toge'ther

h· . . ... t, .1:.: • 1:". dl-

as s own In IUU: 11nlSU,e· _ 'cane.


_""~iC:-""'Am' ,pI one ... 't· ,<"',.., .... ",. ~,~ .... r. .... ·"'+: ... d· t .... 'm·· 't11, '~ the same 'wc-an- ' ... "" .. <:l'~' -p: ... t, tern 2

~' _ "" .... '. ':_' .... ', ..... 1-... ...,_" ..... lIio """,,:'~ .. g.L,""·_,~ ,L """': n" !!U. ~'","",!l~'_' , .. :_-., I,LAr.,.'/I. ~"" ,p,:. """"'-ole, .••

~~ with a Sld:nner' Blend bullseye Cane (see p~ge 119 fOI' ,qireicii1ons) and -'P itwith a. medium-thick sheet of black.

£:duee file. cane" tben cut it intothree pieces of leq_uMLengrh.Arr:a:Ilgerhe ~c,es_ side, by ,SJdlZ;" then f-ocrcr: them inltQ 'a square sharpe.

_'1S you did inPattern 2,) iO,fte the square cane into a triangle shape. Here 'ave :!le intermediate and finished rri1tngl,es.

Dirvide the tri~ngle cane into two piec'es of eql.JJll ~e.ngdl~ tben press it

rlt.o o"!N:;o. '"'b-~ er '"'''' shown --,iI!iI'lb-t.. ... ~ I ~!;;I! ~(.lII,.: '.' ~l"'],L~'~

Reduce this piece and div.ide it into tow ,pieces: of equal length, 'Notice tb:ait

",,'1.. f-' 11.. t: • '. h' " • .]1,. £c· ..• 11 'L~ 1!"'k"

Ulle·tlrr$ngement 01 rnetour ,p1eOf:S int . ts cane l:8uliuerent;.lt ~ooJtii£more. ,ili ee

modified, feather pattern,





1"'hetet'/Jrqe'/Jiru'weT€ ffli1:dc by "('JtI,oin;~g s.tapry NiglJ/ C1lnCS -wit/J' do;t~j81Iyrol~, trlil~':I~lj_/Jc 'illtli iel"ml~ llf~:d Starry Nighl~'Wi.~'1 eenes:

TH1S CANE IS A "~ONDERF'UL W:AY'f:o uSil!a.ny cane ends md miscellaneoas bits and pi,eia:~. ,o:fclay you mIght have on you:rwor.kt:able. A food p~O'ces810'I' is :31 real help to make fIle chu.nks of cb1ty, but if you do,:n'c h~v;e' OD,e,,'Ou Dla!Y ,~o 'use a knlie or blade to chop the, day 011 your w--ort stl:rb.ce by hand, The results remind me of tbe lam.olls piaindllg b}r Villc~n:t vm Gogh~ n,t Starr, ,Nightl" and SIO I named ehese canes :mn. honor of it,

When youro,U a doubl,~thickIle;ss ,of clay through the 'pasta machine, the d~l~ wide,ns a 'bit while it nearty doubles in length. You can, choose bonl t'lJ\flO diffe,rent patterns in :st-:acking the sheets, Tile sidethat runs perpendicular «lIthe rollers mIl featu:rcs long streaks whilethe colors in 'the other side will :ball'f: D dl:oppiet appeamnce. 'The deci:S.IC)ll1 to' use one: or the other 'when making the' face of ytlU! canes is a; mattet of personal preference.

With a rood p,[ocesso'[' or by :han"d, w'~,th ,8' blade·, cut up and mi"i various ,colon; and bhs of day ina) small ChUDl<~i:.

2 PrQ.c._ e,.s. tho .,e .dar ~n ''i::ll:eptJ:\CI,Oiessol' uJl:oln:be clay is broken up mro birs,

Form tbis,lnass inro a sL~b and roll it w~m yuur acrylic: rod. If dle clay bits stick -(1(.1 due' rod" p~lcea 'S~lJi(!er "of deli lP~p er on.the slab" 'tOen ~oll.

'Roll the sheet tbllOiU,gh the pas,m Jru'Ilchin,eon the 'thickest 5,ening. Cut the rolledsheer in half aDd 'place one haJf atop t'be (l,th!!t" as sbown in the piicrur,e. RoO. th e double' sheet: tbJ,':c.ugha;gain. The' number of times yOL divide and roll dlr,wgh d!e:pends, ~.a'rgeI.y on, 'me size 'of 'the bits J'o'Il.1~'lJle ,cut or p.roc'e5sed., The smaller theyare~,th!c: {e,:ver times you 'will ,cUv~de~ stackandrell through. My p,~ece \~,raE roUea rbroiu,gi'l" .. 'the.n €old:ed and lrolled,three more times,

5 After tht(HJ,gh~ rut' the sheetin 11atf mdpb.ce:G· - balf a:ro,p d.le other, T.rimthe four sides. Inspect the s:id~ .BSt:hey vrilloOk. different: SC)llle will ~ea:rure lon_g' streab aa; me others willhave a. cllopipy a:p,peuanc-e. When you di~ ...

---""':l- make sure you maintaso the ,same~~grailf~ on the outer sides .. Cut th€ slab .: .:g'"'~in and stack one hallif)'liltop the other. Trim. the sides with a hlaJde.lf th .. e ~:he s]~b i$l~tt s'quru:e~ reshape it with your fingers; or cut sides until it is

=- ::lUs basic squa[1e cane is the startiuIg point for creating a Starry' Night _.r.;.,,_ ;:rule~1 a swirl cane, a tile cane, R b~ketvllleavf; cane, and m'any others .. You can. ::::..:. :'ou:g streaksalong one side andthe choppy pattern on the other cane face,


1- ,fike a _t~n-y'~ght slab., then cut the slab in half diago!l1lill)'" as shown 11"1 the picture,

2 ,~e~.ara,te",tbe,halve,',s ~n,"d reassemble as, shown to' make _ . a 'tr.!!angle-shaped calle.

3 Redt~ce the triangle-shaped cane then cut it in MO _ equal ... Length pieces; remember 00 0:11n the ends .. Press the two pieces together to make a mirror image and press to, create a cane,

4 ~~uce' ,th~s cane to a length ,~.~.,approximat!em~ S to 10 I inches, Ton) the ends and divide the cane mtn 1:1No

pieces of equal length .. Press the halves together as shown and make a cane,

5 C, ll" t itibiS, ca,' ne,', into two pieces of equal! length and P're5S them. together.

6Th, e n.~s, h~d. cane lli,I~O'~S ~~e',~. ~on, each_ s, tide wi~b an acrylic rod to even up and. square the corners,

7- Th, il,IS," larg~, pie,' ce is, m,"":ade of four s~c.e~, from'" the cane

l' dsi d b '·d d U' d .. h

ptlaQe, SI:f; Ji" sme 9.11<- rc e I to Jo~n tne seams.


''Ie this cane in both opaque and prim:;u:il:_, translucent :ons.By lnOOng translucent lvith o,pl~!e colorsryou _ be able. to slice this cane thinly and apply the slices _tivdy over' opaque slices, adding curved Iinesand at hint r olor for additional interest,

_;. ia:ke a basic' Starry Night slab. In this case, the face of the cane is rnade t),singthe side, not the flce,of the . n-inal slab,

'Taper one end of the slab, Squashing the squ:a:re 'en.d of the cane.

Rona thin sheet of black or anothereolor, Pla(:e the; sl-ab on the black sheet and trim all around, (This step' ~ 0'$100'1181)

4· &o]} up tigbrly fi"OlD, tbe tapered edge, "Vork slowly; giving the thin sheet a chance to stretch without G:rnckin.g,

5 ~_ slioe. cut from the, "" . shows itscoLoir~ll_i~tedo[. I leave the ends: raw,. but you may opt to taper the end before rolling. 'The cane is rolled like the snail-type jellyroll 'on p'age 71.


This P!,il'lftatlln~.s Starry Nigh.t smirl rtln(J·siicest .sallded .and ,!J"tjfod •

. ,j



T,he Sta.:r.:tyNight zlgP'ag cane is made ,e_x.acdy the ·s_a;ro"e. "W'aY' as tn@ zigzag. cane (see patge 72).,T!1e 'grain of the. 'basic StM"Iy Night slab shou~d be le;gardedas the

stripes in that cane,

TJie zi~ag ,rttll1JC' :(In the 11ft W4t rtia'ie #Jing :ilJe /(mg-t( sidtOla sl(lb~ whNe tnoc' t{Ji1:te~·t1;nd right e'(lti~s wed'the cAoPP11:i.dus of t~eir sla~s.


F(fr thcse:pieces, I used,s (()m~in(ZtiQ:n of Starry Nig;'·t canas.

Thq light ·bl1/.I1·;ar~Qs are Starry ,Night :dgzag. (-tl,ne:l,


n,t] fi'tltl~e if.this pin is cov't'red witb: sliees.frmn .a SttJr1J1 Ni.ght zipag .. :ca'!JB ':~2MJe 'mith m'OstlY' ,",Mt~llicday:J~

Starry Night Pin

~~-3 COLORFULP1N uses St:trty Night canes asa background forbold elements - :at £o·Iieground. You:could make endless variations: on this basic Idea, using the rs in yrO"!1il' scrap canes to inspire a ¥ride variety Clfproj~cts·. Ferthe £ore,gr,ound. - :ass,. think about choosing' shades that willceerdiaate withrbe . doming y<)U

- __:m to WI~aI with the pin.

'TO M,AJ(E 01 NE' P f N" YOU W,u.l N'EED:


Pasta m.och in'e


Acrylk rodi

[eramic ~i Ie Fine~9rttsondir1;9 hlock Kato Clear Mecl'ium Scalpel Oir X=Ado~ i:yp'e

craJ~ knife

Pin hack CyQnoa('rylat~:·'91.ue' StJCnCl$, Koto Pa,lyglue

Dis.h SoC: r'uhb re for h:!~uri fig back

1 Moe severol S"tCllrliY Nigl 'r:ones. Then, for Ihe decoiro~ive sheets: Roll 01 medfumJthick sheet 0' scrap day- Onto the' sheet place e ~hin shee of while. Roilihe Iwo-Ioye:r sheer 0 01 mediuwHhil1 se:~tin9 or the, ,Pasla, mac'hine II use selting 51. Cut ilhe sheet in horF. From D square cone, cul'thin slices and place 'Ihem side by slde on -ihe w,hlie side o' the 'Irimmed s,heef. Roll with Q red 0 smooth Cllnd join Ihe cone seems, R.all, this Through a: 11f'Iedium-thin setting 01 Ih,e posle mac.:J1ine II JJJs'e sell'ilng 5,1. Followj'ng Ihe some instructions, make

a second detora~ed sheet

2 PloGe the Iwo sheets 011 Q cerornlc tile. overlapprna one slrghtly ,over I'ne oiher, With 'ei blade. cut on ore Ihro!Jgh bo 11 sheets. os shown in the plctu8. Remove the eXlcess doyhom the, 'top and bonorn she~tsl' Ihen tu)I' rhem togetner ollhe cui. Wnh your ringle;sl press tile seem 10 join ~he Ivvo pieces !!ogefher., Ihen roll lig:hi~y wifh C! roo.