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Premo! Accents Exotic Golden Treasure Necklace

Starting at $2.79

Do you daydream about wandering exotic bazaars soaking up the sumptuous colors and designs of the glittering jewelry offered?  Indian designer, Dr. Pritish from Art'Zire , will take you on a personal tour with her stunning pendant design.
Grouped product items
Product ImageProduct Name Qty
Sculpey Premo™ Gold 2 oz
$2.79
Sculpey Premo™ Blush 2 oz
$2.79
Out of stock
Sculpey Tools™ Clay Conditioning Machine
$39.99
Sculpey Tools™ Clay Blades
$14.99
Sculpey Tools™ Dual End Detail Tools
$9.99
Xacto knife, Needle tool, Xillion Moonlight Swarovski Crystals (Chaton, 4.5 mm diameter), Gold finish brass eye pins, 6 mm golden jump rings (uncut), 14 mm oval ruby (or any stone of your preference), 2 mm polished rubies (these can be replaced with stones of your choice), extruder of your choice, Lobster clasp for the necklace string, 10 mm Swarovski crystal gold pearls, Brass filigree beads with 4 mm hole, 11/0 golden seed beads, 11/0 maroon seed beads, A printout of the template (Shape and size adjusted according to the size of the stone). A “border” of 1.5 cm was used here, outside the dimension of the ruby|Xacto knife, Needle tool, Xillion Moonlight Swarovski Crystals (Chaton, 4.5 mm diameter), Gold finish brass eye pins, 6 mm golden jump rings (uncut), 14 mm oval ruby (or any stone of your preference), 2 mm polished rubies (these can be replaced with stones of your choice), extruder of your choice, Lobster clasp for the necklace string, 10 mm Swarovski crystal gold pearls, Brass filigree beads with 4 mm hole, 11/0 golden seed beads, 11/0 maroon seed beads, A printout of the template (Shape and size adjusted according to the size of the stone). A “border” of 1.5 cm was used here, outside the dimension of the ruby

Additional Resources

Getting StartedPolymer clay may stain. CLAY MAY DAMAGE UNPROTECTED FURNITURE OR FINISHED SURFACES. DO NOT USE polymer clay on unprotected surfaces. We recommend working on the Sculpey clay mat, wax paper, metal baking sheet, or disposable foil. Start with clean hands and work surface area. Knead clay until soft and smooth. For best results, clean your hands in between colors. Shape clay, pressing pieces together firmly. Bake on oven-proof glass or metal surface at 275°F (130 °C) for 30 minutes per ¼" (6 mm) thickness. For best baking results, use an oven thermometer. DO NOT USE MICROWAVE OVEN. DO NOT EXCEED THE ABOVE TEMPERATURE OR RECOMMENDED BAKING TIME. Wash hands after use. Baking should be completed by an adult.Begin by preheating oven to 275 °F (130 °C). Test temperature with oven thermometer for perfectly cured clay. For best results, condition all clay by running it through the Clay Conditioning Machine for several passes on the widest setting. Fold the clay in half after each pass and insert the fold side into the rollers first.
Trace out the outlines of the printed template on scrap clay. Since this part will completely be covered by the gold layer on top, scrap clay is good enough for the purpose. Use the second to widest setting on the Sculpey Clay Conditioning Machine.
Set the scrap clay cutout on a printed polar graph such that the centre of the top oval is aligned with the center of the polar graph. Set the scrap clay cutout on a printed polar graph such that the centre of the top oval is aligned with the centre of the polar graph
Prepare a sheet of golden polymer clay, thickness around 2 mm.
Using the scrap clay cutout as a template, cut the golden polymer clay.
Flip the base over and smooth the edges using a smooth rounded pen/knife.
Push the 14 mm ruby in the center of the smaller oval, to mark its position.
Push the 14 mm ruby in the center of the smaller oval, to mark its position.
Cut the top oval out of the template and fold it into quarters. Draw a pattern of your choice on a quarter and trace it out so that a four-fold symmetric pattern is ready.
Take the ruby out and trace the four-fold symmetric pattern in the top oval
Since ruby is a transparent stone, a golden base dulls the stone out and leads to a muddy brown colour in the end. To counter the dullness, mix fuchsia, blush and white colours to get a colour as close as possible to the ruby shade. Using the stone as a template, cut out an oval of the same size and push it into the groove made by the stone in the top oval. Push the ruby on top of the pink cutout.
Extrude golden polymer clay using the clay extruder.
Take two extruded elements together and rub them in opposite directions at opposite ends. This will lead to a twisted rope getting formed.
Add a layer of the rope around the ruby, and then, a single extruded element layer to bring a clear definition to the stone. From a pink-to-white skinner blend, cut out the lotus petal shape and set it on the trace made using the template
Using precisely measured extruded elements (cut four at a time to avoid measurement error), start laying out the pattern on the top oval. In the middle of the “petal” made using extruded elements, push 4.5 mm chaton Swarovski crystals.
Outline the lotus petal with thin extruded elements as well.
Lay out the 2 mm rubies on the inside of the extruded outline in the top oval and press them gently into the clay, using a ball tool. Repeat the step over and over till all the outlines have rubies inside them.
Create a ‘border’ using the closed golden jumprings. Push them gently into the clay using a ball tool. At the centre of each jumpring, add a chaton Swarovski crystal to create a traditional “kundan” effect.
Outline the lotus petal with 2 mm rubies. Gently push the rubies into clay before pulling their string out.
Finish up the remaining filigree pattern on the top oval.
Finish up the remaining filigree pattern on the top oval.
Outline the upper oval with a twisted rope outline.This is how it appears after finishing
Apply ‘Aztec Gold” Pearl-Ex powder on the golden parts of the necklace.
Texture the insides of the filigree elements, to add more definition to the jewellery.
Bake according to the directions above. After the piece has baked and cooled, apply Sculpey gloss glaze with a synthetic hair flat brush, to the parts where Pearl-Ex was applied. This locks the Pearl-Ex pigments firmly.
Add the beading to the necklace portion of the pendant as shown.
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