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Kalmbach Books
21027 Crossroads Circle
Waukesha, Wisconsin 53186
www.Kalmbach.com/Books
© 2010 Patricia Kimle
All rights reserved. Except for brief excerpts
for review, this book may not be reproduced in
part or in whole by electronic means
or otherwise without written permission
of the publisher.
Photography © 2010 Kalmbach Books.
The jewelry designs in Perfectly Paired are
copyrighted. Please use them for your
education and personal enjoyment only. They
may not be taught or sold without permission.
Please follow appropriate health and safety
measures when working with torches, ovens,
and kilns. Some general guidelines are presented
in this book, but always read and follow
manufacturers’ instructions.
Every effort has been made to ensure the accuracy
of the information presented; however, the
publisher is not responsible for any injuries, losses,
or other damages that may result from the use of
the information in this book.
Published in 2010
14 13 12 11 10 1 2 3 4 5
Manufactured in the United States of America
ISBN: 978-0-87116-294-6
Publisher’s Cataloging-In-Publication Data
Kimle, Patricia, 1967Perfectly paired : designing jewelry with
polymer and metal clays / Patricia Kimle.
p. : col. ill. ; cm.
ISBN: 978-0-87116-294-6
1. Jewelry making--Handbooks, manuals, etc.
2. Polymer clay craft--Handbooks, manuals, etc.
3. Precious metal clay--Handbooks, manuals,
etc. I. Title.
TT297 .K56 2010
739.27
Table of Contents
Introduction..................................................................................6
Chapter 1 Begin with whimsy..................................8
Raspberry earrings...........................................................................10
Pencil pin.........................................................................................13
Ice cream cone bracelet....................................................................17
Nested lentils necklace.....................................................................20
Chapter 2 Keep it natural.....................................24
Layered leaf earrings........................................................................26
Leaf-embedded faux ivory pendant...................................................29
Bearded iris pendant.........................................................................34
Leaf and frame pendant....................................................................38
Transfer image on half lentil.............................................................42
Chapter 3 Go around and Around.............................. 46
Filled tubes necklace........................................................................48
Jointed stretch bracelet.....................................................................51
Revolving parts necklace..................................................................54
Chapter 4 Make a match..........................................58
Layered pattern pendant necklace.....................................................60
Button pendant.................................................................................64
Floral pendant..................................................................................67
Chapter 5 Bound by Tradition.................................70
Floral pendant with riveted-tube collar.............................................72
Faux turquoise and hollow bead pendant..........................................76
Cutaway frame and pearl necklace...................................................80
Bezel pendant...................................................................................84
Leaf pendant with partial bezel and rivets.........................................88
Chapter 6 materials, tools, and
basic techniques..............................................................92
Metal clay basics..............................................................................94
Metal clay tool kit............................................................................96
Polymer clay basics..........................................................................98
Molds and texture plates.................................................................100
Polymer clay tool kit......................................................................102
Jewelry making and metalworking basics.......................................104
Jewelry making and metalworking tool kits....................................108
Acknowledgments..........................................................................110
About the author............................................................................111
Introduction
I have been designing with,
writing about, and teaching
classes in polymer clay for almost 20 years. About five
years ago, I added metal clay
to my repertoire. But before I
became certified in metal clay, I took an introduction to traditional metal techniques
class at my local university. I
wanted to have grounding in
traditional metalsmithing fabrication and forming
techniques, so I could take
advantage of metal clay’s best
properties, but not try to do
things with it best left to traditional techniques.
After exploring silver metal clay
for a while, I began combining
it with polymer clay. I’ve found
that most creative problem solving includes three things:
design considerations, processes involved for each medium,
and the means of connection.
Design considerations
Either the polymer or silver
component can provide the
structure of the piece. As in any
good relationship, at times one
element takes the lead and
becomes the star and the other
element plays a supporting role.
But there should be no fighting
for attention! There must be
balance, rhythm, proportion,
emphasis, and unity.
can be used for texture plates,
for sculptural molds, and for
forms for shaping and drying
metal clay.
together. None of my designs
ever rely solely on gluing; there is always a mechanical
connection considered as well.
Long ago, I resolved to quit
using commercially produced
rubber stamps and texture
plates in my art. I found greater
satisfaction in creating my own
textures and patterns. I believe
any artist who takes the extra
effort and time to develop his or
her own images will ultimately
develop a more distinctive
artistic voice and style. There is
strength inherent in the pairing
of polymer clay and metal clay
because the polymer becomes
both part of the process and the product.
Connecting the two structures
These materials have very different finishing requirements,
particularly in regard to temperature. Unlike glass,
ceramic, enamels, and gemstones, polymer clay cannot be fired in conjunction
with metal clay. All metal clay firing and finishing must be
done prior to adding the polymer clay. In addition, the
metal clay’s shrinkage factor
must be taken into account in
pieces where the polymer clay
forms the major structure and
the metal clay forms the accent.
I’ve used four types of cold
connections:
Processes of each medium
Most of my metal clay designs
use very simple shapes and
forms, with the primary focus
on surface texture: what it looks
like and how it was created. For
the polymer clay part of the
“pair,” I won’t attempt every
possible technique, but I will
use a wide variety.
Simply putting polymer clay
into or onto the silver before
baking is not a solution. Many
times the polymer pieces must
be removed from the silver
after baking for finishing steps
such as sanding, polishing,
varnishing, or antiquing. Then
the metal clay and polymer clay
pieces can be permanently
assembled.
Additionally, polymer clay can
be used in a several ways to
mold or shape the metal clay: It
Types of cold connections
There is no fail-safe glue to
bond polymer and metal
Threading: If the metal and
polymer clay elements have a
wire or beading thread running
through them, there will also
be holes in or through both
elements. This may result in a
static connection, or one that
has some freedom of motion.
Embedded wire: A wire is
embedded in raw polymer clay,
or enclosed in the clay at some
stage of the construction. In
some cases, the wire is pressed
through the clay after the face
of the design is finished, folded
over like a staple, and hidden
by another layer of clay.
Filling an interior space
such as a tube or bezel:
Some of the filled spaces are
also threaded or riveted. A
bezel form is the only case
where I rely on glue to secure
a polymer clay object in the
space, because the clay doesn’t
extend beyond the bezel rim
and it can’t be accidentally
pulled away.
Rivets: My projects include
tube rivets, using brass nails as
rivets, and soldering wire to the
back of a surface to create a decorative rivet.
Preview the directions for a project before you get started.
If a technique, such as balling
wire or adding patina, is unfamiliar to you, review the Materials, Tools, and
Basic Techniques chapter (beginning on p. 92). Many
common tools have been
grouped into “tool kits,” which
are marked with an icon in the
materials list but explained
in detail in this last chapter.
Tools specific to a project are
identified in the materials
list. I’ve intentionally kept the
finishing details vague. Once
you’ve made your perfectly
paired focal piece, choose from
your own favorite materials to
complete the jewelry.
I hope that as you explore
these projects, you’ll find, as I
have, a wonderful relationship.
The combination of polymer
clay and metal clay can be a
love affair—a match made in
heaven—perfectly paired!
Perfectly Paired
Nested lentils necklace
Metal clay techniques
•
•
•
carving a mold
impressing metal clay with a mold
forming concave surfaces
Polymer clay techniques
• texturing from a mold
• antiquing a surface
Connection Technique
• threading on wire
Materials
The bold pattern and texture add
whimsy to the reversible lentil
beads in this necklace.
Metal clay
• 15–20 grams metal clay
• V-shaped carving tool
• piece of carving block (Speedy-Stamp by Speedball)
• curved forms such as old
light bulbs of various sizes,
or a set of rounded measuring spoons
Make a stamp
1–2. Sketch a few beginning
lines on the carving block with
pencil. With the V-shaped carving tool, carve away the
main lines of the design. Continue to carve textural lines
and patterns within the shapes
created until you are pleased
with the overall pattern (a, b).
Metal clay
component
3. Rub the stamp’s surface with
a thin film of hand balm. Roll a
lump of metal clay to 4 cards
thick. Place the rolled clay onto
the stamp surface. Oil the roller.
Roll across the clay firmly in one
direction (c).
4. Cut a 11⁄2-in. (38 mm) diameter circle from the textured clay (d) .
5. Press the circle onto the largest curved form you have. I used a 40-watt light bulb (e).
6. Reroll the clay and cut two
11⁄8-in. (29 mm) diameter circles
and two ¾-in. (19 mm) diameter
circles. Press the four additional
circles onto a medium and a
small dome form. Dry completely on forms (f).
7. Sand all the edges smooth.
8. Carefully drill a hole a scant
1⁄8 in. (3 mm) from the edge and
about 1⁄3 of the way down from
the top. Make a second hole in
the same position on the other
side (g). You will be drilling
diagonally through the plane
of the clay in step 12. Fire the
pieces, polish them, and apply
liver of sulfur patina, if desired.
Polish again.
a
b
c
d
e
f
Polymer clay
• 1 oz. polymer clay in color of choice
• white or cream oil paint
Jewelry making
• 8-in. (20.3 cm) 19-gauge wire
• fine flat file
• 21⁄2 in. (64 mm) textured tube beads
• rubber cord
• superglue
• 4 sterling silver crimp-style cord end caps
• clasp
metal clay tool kit, p. 96
polymer clay tool kit, p. 102
g
ALTERNATIVE: This necklace variation has
a little more fluidity because it is strung onto
chain. The metal clay side was textured with a
photopolymer plate (see Transfer Image on Half
Lentil, p. 42) made from a doodle-drawing. The
polymer surface technique is similar to Leaf and
Frame Pendant (p. 38), with subtle, muted colors.
jewelry making tool kit, p. 108
20
Perfectly Paired
21
Leaf and frame
pendant
Metal clay technique
• creating and using a leaf mold
Polymer clay technique
• painting and encasing surfaces
Connection Technique
• soldering
• riveting
Materials
Metal clay
• 10 grams metal clay
• 19-gauge drill bit
• liver of sulfur (optional)
• polymer leaf mold (see p. 100)
• 2 1-in. (25.5 mm) lengths of 19-gauge sterling silver wire
Soldering
• 18 gauge (1 x 3 mm) flat sterling silver strip (approx.
6 in./15.2 cm)
• 3 x 40 mm curved sterling silver tube
• 2 pieces of fine or sterling silver casting grain, approx. 3 mm diameter
Challenge your skills by adding
some traditional metalsmithing
techniques in this project. Fabricate
a frame with flat sterling strip and a
manufactured sterling silver
tube bead. The jewel in the frame
is a beautiful leaf on a background
of color.
38
Polymer clay
• ½ oz. polymer clay in desired color or blend of colors
• metallic acrylic paints or stamping inks
• small amount of translucent clay
• paintbrush or palette tool
• wet/dry sandpaper, 400 and 600 grit
Metal clay
component
1. Roll the metal clay to 4 cards
thick (a).
2. Oil the surface of the leaf
mold with a light film of hand
balm. Lay the leaf mold face
down on the metal clay and
firmly roll across it in one direction. Carefully separate the
mold from the clay (b).
3. Cut around the outline of
the leaf with a craft knife (c).
4. Shape the stem into a curve
(d) or lap it over the edge of
the leaf with a dab of paste
slip, in order to make it less
vulnerable. Contour the leaf if
desired, but not too deeply. Dry
completely.
5. Sand the edges of the leaf
to remove any burs and to
blunt the points a bit (e). Fire. Polish.
a
b
c
d
e
metal clay tool kit, p. 96
soldering tool kit, p. 108
Alternative: Vary the shapes and
the leaves for more options. This is a tulip
tree leaf. At maturity, these leaves get
bigger than my hand!
polymer clay tool kit, p. 102
metalworking tool kit, p. 108
Perfectly Paired
39
Floral
pendant with
riveted-tube collar
Metal clay techniques
• using a texture plate
• soldering Polymer clay techniques
• Skinner blend
• caning
Connection technique
• riveting
Materials
Flower canes can be
simple or very intricate.
This project uses a
shaded cane to create
a simple morning glory.
The morning glories
float over a shaded
background and bits of
silver foil for a shimmer.
The silver texture’s
abstract geometry is
strikingly different than
the floral pattern, yet
complements it.
Metal clay
• 8–10 grams metal clay
• texture plate of choice, drawn in or carved from polymer or carving block
• 16-gauge drill bit
• liver of sulfur solution (optional)
Polymer clay
• polymer clay in variety of colors
• translucent polymer clay
• black polymer clay
• sheet of sterling leaf
• V-shaped carving tool
Soldering
• easy wire solder
• Handi-Flux
• 3 mm x 35 mm curved sterling tube bead
• 2 brass escutcheon pins
Metalworking
• ball peen hammer
• bench block
• flush cutter
• flat file
• half-round file
• cardstock
Metal clay
collar
1. Roll metal clay to 3 cards
thick. Oil the surface of the
mold with hand balm. Roll the
mold firmly across the metal
clay in one direction. Carefully
remove the mold (a).
2. Use a flexible clay blade
to cut the shape of the collar
piece. Cut a curve into the top that corresponds to the
curve of the tube bead (b). Dry completely.
3. Sand the edges. Drill two
holes at the sides for the rivets.
Keep the holes about ½ in. (13 mm) from the area where
the tube bead will be attached
(c). Fire. Polish. Burnish along
the curve of the collar where
the tube bead will be attached.
4. Check the fit of the tube
against the curve of the collar. If necessary, file the collar
curve with a half-round file.
Clean the tube and the collar.
Dip the tube in flux. Place the
two pieces on the firing pad.
Cut several pieces of solder
wire about 1⁄8 in. (3 mm) or less.
Arrange 3–4 pieces of solder
along the seam between the
pieces (d). Heat with the torch
to melt and flow the solder.
Clean in pickle solution.
Polymer clay
pendant
5. Create a Skinner blend (see p. 99) with about ¼ oz. each of two colors for the
morning glory. Roll the blended
sheet to a medium thickness.
Cut off 1 in. (25.5 mm) of the
darkest end and set aside. Cut
the sheet into equal parts and stack into a loaf. Wrap the reserved dark piece around
three sides of the loaf (e).
6. Cut into the stack and add
2–3 strips of a contrasting color
for petal veins (f).
7. Reduce the loaf, compressing the dark end at a slight
angle. Cut the cane into seven
or eight pieces. Create a center
using several shades of yellow-golds, and roughly twist
and fold them together several
times. Assemble the petals
around the center (g).
8. Create another Skinner
blend using two colors for the
leaf, about ¼ oz. each. Roll the
blend with the lighter color
inside. Reserve a small piece
of the log for the stems. Cut
the larger section of the log
lengthwise into two pieces, add
a strip of the dark color down
the center, and re-assemble (h).
9. Reduce the cane and pinch
it into a pointed leaf shape (i).
10. Roll a small amount of
translucent clay into a mediumthick sheet. Apply silver leaf
to one side of the clay (j). Roll
the clay as thin as possible to
fracture the leaf.
a
b
c
d
e
f
g
h
i
j
metal clay tool kit, p. 96
polymer clay tool kit, p. 102
soldering tool kit, p. 108
metalworking tool kit, p. 108
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Perfectly Paired
73