Transcripts
1. Introduction: Hello, I'm to other any goods and they will show you how I make my jewelry. In this course, I will show you the techniques I use to create beautiful you need jewelry from polymer clay. This first part of the course is for beginners. And they show the basic techniques to start creating your jewels without having to have any previous experience with modeling clay. This course, I will take you through the journey of making this, which is very easy. Anyone can do. This is another thing of the same pattern. You see the two colors of school pay, mix together and make a very nice pattern as well as here it's the same thing, It's given simpler. So we're going to show you this and you can also be able to make something like this. These have laboratory camera shots that have been glued after baking. The jewelry that I will show you how to make features, stones, that is labrador it captions. Besides natural stones, you can feature glass beads or basically anything you wish. Or if you want polymer clay to send the loan, you can leave it. As such. I will show you techniques that can be used in any project and independent to the materials that you feature in your designs. And if you enjoyed this course and want to learn more, please check my intermediate and advanced courses on polymeric legible.
2. Materials for Making Polymer Clay Jewellery: Now I will present you the materials you need to make your own jewelry. I always got on a glass tree like this one. This will pay, doesn't stick to it and it's very easy to remove and to clean. Also it has this floral pattern, which gives me inspired. For my jewelry. I always use polymer clay. For this video. I will use colors scooping. It tends to be pretty hard, but it can be soft and with a school-based softener. Also, if you don't have a school based software available, you can use baby oil and that works really well. You can add it to your clay where you are needing. Also mind that 22s cold is very hard to sculpt antonin your polymer clay. It tends to be very correctly. So it is better to sculpt when it is warmer. To make a pendant like mine, you need a natural stone. I was using a Labrador red cabbage and it's inexpensive and it looks really well. So these are the two colors of single-payer used, bird and gold. And they mix together really well. So let's get started.
3. What you can do with Clay: I want to show you what can be done with polymer clay. What kind of jewelry you can do even if you're a complete beginner. This pair of earrings was my first-ever piece of jewelry I made with polymer clay. But they had a lot of experience with modelling clay. Some simpler, bad, dense and models. You can do this, which I will show you how to do in this course. Some other simple designs you can do either this is basically just a light color of school PE hold with the metal strap inside and covered with a thin band of a different color, a darker one and electron. It's very easy to do. And it looks pretty well. And you can have this little pretty set. Something else super easy is this pendant with a little agate. It's a thicker band that has been placed in a random position, and then the egg that was pressed on top. This is another one, very simple thing I did for my first rise. And this these designs are very simple. Those two are the ones that I will show you how to make. But you'll also be able to do anything of the rest with the techniques I'll teach you here. You can see that in this one, I placed last beads instead of natural stones. This also is with a glass bead. This one too. I like to incorporate designs that to feature something to resemble animal, like in this case a bird. Here, I tried to do a butterfly like the glass bead below. Another very simple pattern that features a fake book. And these features Borowski crystals. This is another very simple design for abundant, and this one also features an egg. In this course, I will show you the techniques I use to create my jewelry so that you can implement it in your own practice. After you get used to modeling clay and gain some experience, you can basically anything you want and create your own designs to match your taste and style. Until we get there, I show you how I made this pen.
4. Starting the PENDANT: I will show you the complete process of making this pendant from beginning to end in real time. So you'll see every little dutch that they make to the clay and how I render it to create a beautiful pendant. I start with my two colors of clay. I take some parts of it which had been needed, enroll them in a thin sheet. Using it wouldn't talk. Am doing both colors at the same time as they will need them in the same moment of sculpting process. Switching from one to the other and placing them on top of each other. To create a beautiful pattern. I want to have my sheets of roughly the same thickness. I've noticed that not all colors are as easy to sculpt. And here the one is a little harder and more cracking. So at the beginning you should try more colors and see which one suits you best. I want the clay to be warm and I needed it before turning it into a sheet. Then ending is for making the clay softer. And also, if I wanted to add a little thinner to the clay, you can to us too hard. That was the moment to do it. I always prepared the sheets before I start sculpting and make them fish. Because in time they lose their flexibility. If you're sculpting over the period of a few days, you might notice that to the clay slowly loses its flexibility and it's harder to sculpt. That's why I referred to finish the piece the day that I started and bake it as soon as possible. Here I was checking on which Kurdistan looks better. And so to decide on which they should place it, I prefer the contrast between the stern and the light color of the pearl. It's co-pay. So I fix it here. I start modeling the edges of the clay so that I make room for the other cup and understand to be surrounded by both colors. So in the gaps that I am now creating, I will add go school pain. And also make a pattern of the two colors, zones and their rhythms. If the clay get stuck to the tray I'm working on, I use a little but nice to detach it. Now I'm taking gold color school PE and place it in the gifts that they have created. I rounded edges a little before I united to the clear dependent. In the next stages, everything will be knitted and the edges will be smooth. But now this is the rough part of the sculpting process. And they don't bother much with knitting hedges. And you can see that the tools that I use are my little palette knife and my fingers. This is the part of the process where I started establishing the design and surround my conversion in the most becoming way that I can think of. I'm adding that have a bit of those will pay in the other gap on the lower side of the bend is basically the same process that they did for the first one. Just take a little bit of the ensured that they have made and place it in the gap. The only difference being here that I have kept an edge of the pearl school PE surrounding this time. And we'll add one more. The goal of school paid to the other side of the camera shot. This time it is smaller as I don't want the parts of the gold color to be of the same size. And they want to create a beautiful algorithm by making all the shapes of different sizes. You can also see now that they started using a wooden tool to need up some edges. And here I am using it to create a little world of the sheet that I placed behind the cabbage. Now some little middle-school pay that doesn't want to stay, come back into the ships is bothering me and they take it out. This will happen if you are sculpting in a cold climate. There was sculpting the outside and the terrorists, and it was last week, so it wasn't really one. I prepared one more. A little bit of goals could pay to add. In the upper parts are dependent. And they also make another very thin sheet of gold color. They ran out of the one that they had already made. This time. I'm making it a little thicker and they want to create some nice accents with it. And they will model it a little more with my hands and place it. Readership that I had previously created. That wasn't big enough. Now I'm adding some goals. Good way to the top of the pendant. There will be two shapes of gold color, school Bay next to each other. But I will later add the bird colored veil between these two shapes by which the defendant will be displayed. Now that the general shape of my pendant is ready, I start knitting some edges. And wooden tool is great for this kind of thing as adequate smooth soft edges. And this is exactly what I want. Now. I am widening the edge of the pearl color on the bottom of dependent. And they do this by pushing it towards the gold color. I also want to make up a little the edges of the transitions on the back of dependent. And in the next video, I will show you how to create some nice decorative patterns on the frontal. Usual.
5. Sculpting 2nd Part: In the second part of the sculpting process, I will show you how I create some beautiful designs and patterns on the sides of this pendant. Literally embellish the overall look of the base. The amount of veterans and the balance sheet you add to your own joule is a matter of taste. If you like more minimalist look, you can leave it as simple as possible without doing anything that I will show you here. However, if you like a more complex look, it is the moment that I will show you the techniques I use to create some interesting designs that they're easy to do. And you will use a multitude of techniques and will create many patterns from which you can choose your favorites. Or you can add them all on one piece, as I did here. In this video, I will use my fingers very little and instead use some modern tools. Man can see that I am arranging that shape in golden school Bay. I want to add the complexity in design that they haven't done in the previous session. I want to arrange the proportions of the light goes good pay and the glucose could pay and make the ratios pleasing. That's what I'm doing now. I'm arranging the light-colored scope and make it area larger. I will also embellish that left part. And a lighter color with a very thin sheet of pearls could pay. Which I bend in a natural way. And then I place it on top of the area that they want to embellish. When doing this. And careful to leave a place where the air can get out and it's not trapped inside to create bubbles that are impossible to remove after baking. So I'm only sticking this thin sheet in three sides being 10. So it will have a place where they can come in or out as it dilates when it's baking. I leave the open part on the side so that it can be visible from the front of the piece. And keep arranging the transition so that it won't stand out from the rest. And it will be inherently hi, I'm adjusting this part of the goals. Who pay. I want to bring it to a more rendered state so that it matches with the rest that I have already brought to a new level of complexity and designed. I'm taking a sharp wooden tool with which they can draw thin lines of an organic form to match the leaf-like structures that they want to create. I'm also adjusting the transitions between the two colors of clay and they making them deeper and neater. On this section of the juul, I want to make a pattern with around mode. To do that, I am taking around wooden tool and move it around and I press it on the clay. Also, make it rounder with a sharp tool. This way, I can make the shape that I have already created the bot and more miserable. Here I am meeting the transition and making some lines that look organic and remind of leaves. And when the Odontochelys and sharp enough, I'd take a metal one to get my sharp edges. Now I am making another super thin sheet of school Bay to make another patent. And bending it a little to make some waves. I want three such waves. And I take the ones on the side and bend them a little. This way, I can create an iris or what is called the League, which was a symbol of the French aristocracy. It looks really well and it's very easy to do. Of course, is a stylized version of a virus. But it really their input. And you can do a whole set with just this pattern. And of course, I let the outer side of the structure open so that it doesn't damage while baking. In the next part, I will show you how I made the bail and some final adjustments.
6. Adding the Bail: By now, most of the design rendering has been done. And they need to add the bail and make some final adjustments. To make the bail, I make one thin strip of the bulk colors Kobe because it appears to me, seems to be more resistant. Way. Also because a 2 bit of gold to pay on top and they need to delimited them when I wanted to have the same thickness throughout and I bend it using my pen tool and place it on the backend, the jeweled. I push really hard on the back so that sticks. And now I take my pen tool to adjust the edges and soften them so that they last longer and they will not be any danger falling apart. I also adjust the edges of the other projects could wait. Until now. I have only worked on the front of the piece. So the edges here quite well. Softening the edges also helps with the resistance of the piece. If you unify the two colors of clay, Bye During the edges more, it will make them more resistant without being any danger of the coming apart after baking. By introducing those onto Lynda bail, I make sure there is enough space for an atlas. When I was working on the back, decides went a little apart from the stone and now I bring them back closer to the stone. And also I make some more rounded patterns in that area. And they make sure that the band used as a bail is trade. The left part of dependent is now quite detached from the stone because I worked on the back. And now I bring it closer to the cabbage. Anyway, when a vague the pendant, I will need to detach the stone and the glue it afterward. But I want my edges to be secure on the stone when I bake it and that's where way bring them forward now. And when I remove the stone, I have to be really careful not to deform the sport. I have also adjusted the upper left, that is builder. And they made it smaller and over nicer shape. Everything that I am doing now is only cosmetic. Doesn't change the design of the piece. I will make small adjustments that they think will make the video where I ran out of ideas. For these adjustments. I will stop and take the stone out and bake dependent. That is the support for this term and made the design on that. You're going deeper. Mr. again, is that word was previously quite a modality with the simple harmony throughout the piece, and that's why you want them roughly the same injury, Cassie, if everything goes, who had been simple evidence have complicated very much with these details. I keep bringing the size of my school being closer to the stone because I don't want any big gaps between the stone and the details. The patterns that I have created. And the small gaps that will be, will be filled with colors and liners. When I will paint with these. Now taking a very thin bam, bam, place it in the middle of my wave, has a final detail. And rendering. You think it looks really nice, means a nice touch to the simplicity of the base. Now my sculpting is basically done. And I won't have to think about the way I will take the stem without changing the shape of the support. It can be tricky, but it has to be done. If your stone has a smooth version, has a very bad and it can stand heating. This is not necessary as you can bake it with Mr. attached and will stay fixed. But my laboratory, it is very smooth and it will fall. If I don't do it. I slightly bend the support and take the laboratory it out. And I placed my support on a flat base and see if my starfish, again purple. Now that I see that it fits, I only have to take the stone out. Now it is much easier because it hasn't stuck to the gla and then bake the support. And after it, cause I can glue my stone and finish the pen.
7. Mounting the Stone: The support I have sculpted for my cab ocean has been baked and now it's ready to Mondo stuff. You might prefer to mount the stone after you have painted this port. However, I preferred to glue it first so that I know how and where to paint it so that it looks better. And that it is in harmony with the stone. The mounting of the stone is in fact gluing it. And this port, I'm using a robotic books igloo, laying equal parts of each and makes them really well together. One is the actual epoxy resin and the other is the hardener. In time, the hardener is can get too old and yellow and then they're not as good to use. So you should buy another set or just the hardener if you still have tourism left. I am applying the glue to the sport and spreading get quite even more in the middle as I will press the stone and it will get to the sentence. I think very well which way you place the stone? Think about the reflections it has and how they are more visible. If you have a pendant, you should be more visible when seen from above. As does the way dependent will be viewed from. You can see a little blue coming out on the side and that means it's enough to fix this stuff. And now in 15 minutes, it should be fixed and secure.
8. Painting the Pendant: My caboson has been
glued in place, and now I only need to add
some finishing accents with relief paste that
can be metallic, like copper, white, and
transparent like this blue. They are found in many
colors, purple, red, green, and so. Even glitter. I want to add some
beautiful accents on the sides of the
mounting of respondent. I will use metallic silver
on the gold parts and metallic copper or metallic gold on the pearl colored parts. I do this so that
the color will flow throughout the piece and it will be in harmony.
Let's get started. I have metallic silver
here and I'm going to do some rhythms and round motives
on the gold part there. Okay. The painting process isn't complicated as I only
trace the design that have been created during
the modeling stage. I only add accents and
repeat motives that I have already done in
the previous sessions. I am doing here on
this leaf like shape. Now I am repeating
the round motives. Let's try the colored
relief bases too. They are transparent and they seem strident
when you apply them, but as they dry, they fade away a little. Don't be afraid if they
look too intense at first. It is better to try them on the back of the jewel or
somewhere where it won't be visible so that
you familiarize yourself with the color
they will have when dry. I find the red doesn't fade away as much as
the other colors, so it is better to try each individual tube
before painting. Now I took the
blue relief paste, and I'm adding some
patterns with it too. If you like the way your
jewel looks before painting, you can leave it as it is, as the stage is not necessary. I only do this to embellish the piece and bring
forward the stone. I am darkening the transition between the stone and the clay. That's what I'm
doing now with blue. Also, I want the color to
flow throughout the piece. That's why I'm adding the same blue on different
parts of the defendant. They will do the same
thing with green. Also, I continue to darken the transition between the
stone and the pendant, so that the stone will be the
focal point of the pendant. I don't want to overwhelm the
mounting too much as it is just to embellish the stone that being the central
part of the jewel. Now I move over to the copper relief paste and add accents on the silver colors. If your relief paste
doesn't want to come out, it might be because it has dried on the tube to
solve that problem, you need a needle
and stick it in the end and push it
around a little. Relief paste if they're not used for a long
period of time. So when you have them, use them on as many
jewels as you can. I'm now taking this
transparent purple and doing the outer edge
of the structure. It will fade away as it dries, so I don't worry too much
about its being too student. If you apply the relief
paste in a thicker layer, it will fade away a little less than if it is
a very thin layer. If you apply more layers, it will add to the opacity of the color and decrease
its transparency. I'm now adding metallic
silver to create a transition between
the metallic copper and the colored polymercla. I'm also adding some to the golden polymerclay on the
other side of the pendant. When using relief pastes, the painting stage is the easiest when making
polymercjlry, that you only repeat
the motives and the accents that you recently done in the
sculpting stage. You don't have to think
much about it and just trace the marks that you
have already created. It's actually a very
relaxing process close to meditation. If you think your color is too strident or the layer
of relief baste, you have applied this too thick. While it's not yet dry, you can spread it
around a little. It dries in about 30 minutes. You probably have about 15
to 20 minutes when you can spread it around depending on the temperature that
you're painting it. You can see that I am adding green to other sides
of my pendant, so that the color
will flow throughout the jowel I add a little on the opposite side on the upper part and
on the lower part too. Both on pearl color sculpey
and on gold colored say. As this color is transparent, you can see that it will get slightly different shade on these two colors
of polymer clay. As the color of the
clay will pierce through the color of
the relief paste. Now I am doing the same
thing with purple. These relief pastes are
very resistant after they dry for about five days. After 30 minutes, they
are only touched dry. They are glass and
porcelain mainly, but they can be
used on anything. If used on glass and porcelain, they can be safe
in the dish too. And as they are
colors for porcelain, they are safe and are perfectly suited for
painting on jewels. Much better so than
acrylic colors or any markers that are more
likely to cause allergies, at least in my opinion. I have been using
them for some years on both jewels and glasses, and I can say that I haven't
experienced any problems. Also, they are very resistant. It is not necessary to varnish
your pieces afterwards. It's much more a matter
of personal choice. If you like a more glossy
finish that you can't achieve otherwise or a met finish if you're
using a met varnish. When you are using varnishes, be very sure that
you try them first. Some might remain sticky
and not dry properly. So you can have a
very good piece of jewelry that can't be worn
because of the varnish. And it's also very
hard to remove the varnish from the
jewel without damaging the polymercla and the painting under now back to the
painting process. You can see that
I am embellishing with metallic silver the bail. I'm not adding any
metallic copper as I already have that gold little band in the middle of my be that was added in
the sculpting process. Now I only embellish and add a little
accent to the edges. With this final touch, I think my painting is ready, at least for the front
part of the jewel. It is time to let it dry
and see how the colors will change and how they will look afterwards when they
recover their transparency.
9. Something Simpler: Well, the painting is drying. I will show you how I painted this other band. I basically did just some straight lines with gold on the colored clay and silver on the gold colored clay. It's been too much simpler baton. And if you don't feel confident in making the other one, you can certainly make this one. The more you're practicing the battery will become. So you can start from something simple like this and get to something more complex. Even more complex did what I did in the previous videos. On the back of dependence, I only separated the two colors of clay with a metallic liner. And now that the front of my pendant is dry, I will do the same thing here. You can see that the colors have faded a little and now are more transparent. So let's move to the back of the defendant. You can clearly see the transitions between the two types of clay. And they will take a metallic copper or silver and separate the two with a contour line. I do this so that it looks neater and brings a nice finishing touch the defendant and where the place is bigger, I will sign it. Now. I only have to let it dry one more time and then we'll decide if I need to varnish it or not. Probably not. The colors are resistant enough after they dry to be world without needing to apply a bunch.
10. Final Thoughts: I hope my class inspire your creativity and that you will be glad to start making your own jewelry from now. Or if you already were making jewelry. I hope I have given you a new impulse and told you some new techniques that you might use from now. And please share your creations in the project section below. I will be glad to see it. Give you feedback. Also, if you want to ask me any questions, feel free to do so. And if you enjoyed this demonstration, please check my intermediate and advanced course is to form polymer clay you. There I will take you through more advanced techniques in modelling and painting your jewelry. Thank you for watching, and I would love to hear from you.
Teodora Nicut
