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Premo! Accents Kaleidoscope Transfer Pendants

Design by syndee holt Okay, so I thought I would “break” the new premo! Accents Glitter Golds by attempting to transfer to a sheet of these clays.  I figured that there was SO much glitter in it that the transfer either would not be able to grab or would be broken up by all the sparkly goodies in the clay surface.  WRONG!  A wonderful surprise – not only did the clay surface accept the transfer like a champ, but the glitters just erupt in sparkles once it’s baked.  Add a little alcohol pen color and it’s just magic… NOTE: I use a toner based b/w transfer.  I used to go to my local Kinkos to use their toner-based copiers, but I now own a Brother HL-2360DW b/w printer (about $100).  I use HP Bright White Inkjet Paper.  If you are using a printer/copier for the first time, don’t run a million prints before you test the transfer! I recommend staying away from recycled papers, they can have a thin sheet of plastic sandwiched between the paper fiber layers that prevent the transfer. NOTE: I create my own transfers.  I either convert a photograph to a line drawing (tons of apps for that now) or in this case, I used a kaleidoscope app call Kaleidoo (Android) to create the images and then collaged them together in Photoshop.  My artwork is included in this tutorial for you! If you are creating a transfer of a person or lettering, you will need to reverse the transfer horizontally so that it will transfer and look the same as the print. ANOTHER NOTE: Chameleon Pens colors I used:  Seville Orange, Warm Sunset, Spring Meadow, Grass Green, Aqua Marine, Royal Blue, Purple Grape FINAL NOTE: I’ve used both the Yellow Gold Glitter and the White Gold Glitter in this tutorial to show you both of my favorites.  Once the piece is colored, it’s almost impossible to tell which is which.  The blue pen colors are a little more greenish on the Yellow Gold.  
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Toner based transfer (see above), CLEAR hand sanitizer (clear, not cloudy or tinted) Germ-X is recommended, templates or cutters (my templates are from ArtClayWorld.com), craft knife, smooth tile or sheet of glass, alcohol pens (I use Chameleon pens), a Micron .5 black pen (or other fine tip alcohol pen) for touching up transfer, small 5 inch metal bowl (Ikea) or light bulb for shaping, clear instant glue, waxed paper, gold and silver alcohol pens (I use Sharpey), brush for glazing pendant – I prefer a blunt edge brush about ½ inch wide.|Toner based transfer (see above), CLEAR hand sanitizer (clear, not cloudy or tinted) Germ-X is recommended, templates or cutters (my templates are from ArtClayWorld.com), craft knife, smooth tile or sheet of glass, alcohol pens (I use Chameleon pens), a Micron .5 black pen (or other fine tip alcohol pen) for touching up transfer, small 5 inch metal bowl (Ikea) or light bulb for shaping, clear instant glue, waxed paper, gold and silver alcohol pens (I use Sharpey), brush for glazing pendant – I prefer a blunt edge brush about ½ inch wide.

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.
Roll a conditioned sheet of clay (either the Yellow Gold or White Gold or BOTH like I do) using about ½ the package, out on the second to widest setting on your Sculpey Clay Conditioning Machine. The sheet of clay should be as large as your transfer. Place the sheet(s) of clay on a folded sheet of waxed paper in an area where the clay can sit undisturbed for about 10 minutes during the transfer process.
Cut out your selected transfer(s), leaving about ¼ inch selvage around all sides (so you can peel up the transfer without damaging the working areas) and place face down on the sheet(s) of clay.
Put a little less than a dime size portion of the hand sanitizer on the center of the transfer and QUICKLY spread it to cover the entire are of the transfer. You MUST cover the entire paper surface, even if it is not on the clay or it will cause a ripple as the paper dries. Use the flat of your hand and fingers to spread the sanitizer and move any excess out to the edges and off the transfer. You will be able to see the transfer through the paper now and look for any bubbles and use your hands to move them out to the edge of the paper. (You can also use a bone folder or a large spoon if you wish).
If you are working on two transfers at a time, you will be able to see the difference between the dry transfer on the left and the dampened transfer on the right. REMEMBER YOU ARE JUST DAMPENING THE PAPER, NOT DROWNING IT!
Okay, now STOP MESSING WITH IT! I know it’s hard, but don’t touch it unless a ripple forms. The transfer needs to partially dry out before the next application. This is why I do my transfer off to the side of my main work area – that way I can keep a “weather eye” on it, but keep my hands busy conditioning more clay or coloring finished pieces. The transfer on the right here is just about dry and ready for a second application of the sanitizer. The transfer on the left is properly dampened with bubbles removed.
Some days are better than others for transferring, and I can’t explain the difference. Even using a transfer from the same sheet of paper, clay from the same package, same bottle of sanitizer and the process will be different from day to day. Ambient conditions? Moon in retrograde? Just one of those days at the clay table… so, I can't tell you how many times you will need to repeat this dampen/dry process. Usually at least twice.
After the SECOND application and subsequent partial drying out sequence, remoisten the transfer and gently pull up a corner to peak at the process. On a good day, it will be perfect already (I’ve had days that this was true after the first application). The goal is to have a clean sheet of paper come off with all the ink on the clay. If you have spots that haven’t transferred yet, roll the corner back down and briskly rub the transfer. PATIENCE…
SLOWLY peel the entire piece of paper off the clay and admire your work! If any paper sticks to the clay, put a small dab of sanitizer on your finger and gently rub it off. If a large piece of paper sticks to the paper as you pull it off, STOP, and start peeling the paper from the opposite corner, this will often pick up this errant separatist paper. Allow the sheet to sit for a couple of minutes so the excess sanitizer can dry and the ink can dry thoroughly. (Transfers to Souffle clay are dry almost immediately!)
Once the ink has set, transfer the sheet of clay to the smooth tile and use the template or cutters to cut out your selection. If you are using a template, use the craft blade to trace around the template.
My transfers are 3.5” by 3.5”, which I know will yield 2 pendants and 3 earrings (I know, 3-not 4. Unless they are small). Once you have cut out all the pieces you wish, just peel the excess clay from the tile.
If it is the first time you have used this particular clay/transfer combination, I recommend that you cut a piece of the extra transferred area to bake and do a color check with your pens. It also helps to “learn” how you want to color the transfer.
I often roll the excess clay back through the Sculpey Clay Conditioning Machine (same setting) and cut out the Montarsi Easy Backs, using the middle sized round cutter from the Sculpey Circle Cutter set and the round cutter from the Sculpey Mini Cutters Basic Shapes set. A small oval will work as well. The shape for these Easy Backs are on the left side of this photo.
Slide your clay blade under each piece of clay to remove it from the tile. The Easy Backs go on the smallest mound that they will fit on the Sculpey Hollow Bead Maker.
The pendants can be gently pressed against the sloping area of the bottom of the metal bowl. Bake all the pieces (including the test piece) according to the directions in Step 1 above. Allow the pieces to cool before removing from the shapes. (Okay, at least cool to warm to the touch!)
Select the pen colors you wish to use and try them out on your test piece.
Start coloring your pendants, beginning with the lightest colors first. Use the black touchup pen AFTER you have colored an area. I prefer to wait until the coloring is complete, but I also know that one or two touchups and all of a sudden the transfer looks perfect, even though I almost trashed it for being imperfect!
Once the pendants are fully colored, I put them back into the oven at my clay baking temperature for at least 20 minutes to set the ink.
Use the side of the metallic marker to color the edges of the pendant.
Glue the Easy Bail into place with the small part of the back pointing to the TOP of the pendant. See where you can put the cording or chain through now?
I am normally not a fan of glazing my clay, but it REALLY brings out the sparkles in these Glitter Golds. When the ink has been set and the clay has cooled, I dip my glaze brush into water, wipe it lightly on a clean cloth (you KNOW I use my jeans right?) and then dip just the tip of it into the Sculpey Gloss Glaze. Apply a thin coat of this diluted glaze to the piece. Allow it to dry and apply a second coat if you wish.
I warn you, transfers are addictive! Ooops, too late…
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.
Roll a conditioned sheet of clay (either the Yellow Gold or White Gold or BOTH like I do) using about ½ the package, out on the second to widest setting on your Sculpey Clay Conditioning Machine. The sheet of clay should be as large as your transfer. Place the sheet(s) of clay on a folded sheet of waxed paper in an area where the clay can sit undisturbed for about 10 minutes during the transfer process.
Cut out your selected transfer(s), leaving about ¼ inch selvage around all sides (so you can peel up the transfer without damaging the working areas) and place face down on the sheet(s) of clay.
Put a little less than a dime size portion of the hand sanitizer on the center of the transfer and QUICKLY spread it to cover the entire are of the transfer. You MUST cover the entire paper surface, even if it is not on the clay or it will cause a ripple as the paper dries. Use the flat of your hand and fingers to spread the sanitizer and move any excess out to the edges and off the transfer. You will be able to see the transfer through the paper now and look for any bubbles and use your hands to move them out to the edge of the paper. (You can also use a bone folder or a large spoon if you wish).
If you are working on two transfers at a time, you will be able to see the difference between the dry transfer on the left and the dampened transfer on the right. REMEMBER YOU ARE JUST DAMPENING THE PAPER, NOT DROWNING IT!
Okay, now STOP MESSING WITH IT! I know it’s hard, but don’t touch it unless a ripple forms. The transfer needs to partially dry out before the next application. This is why I do my transfer off to the side of my main work area – that way I can keep a “weather eye” on it, but keep my hands busy conditioning more clay or coloring finished pieces. The transfer on the right here is just about dry and ready for a second application of the sanitizer. The transfer on the left is properly dampened with bubbles removed.
Some days are better than others for transferring, and I can’t explain the difference. Even using a transfer from the same sheet of paper, clay from the same package, same bottle of sanitizer and the process will be different from day to day. Ambient conditions? Moon in retrograde? Just one of those days at the clay table… so, I can't tell you how many times you will need to repeat this dampen/dry process. Usually at least twice.
After the SECOND application and subsequent partial drying out sequence, remoisten the transfer and gently pull up a corner to peak at the process. On a good day, it will be perfect already (I’ve had days that this was true after the first application). The goal is to have a clean sheet of paper come off with all the ink on the clay. If you have spots that haven’t transferred yet, roll the corner back down and briskly rub the transfer. PATIENCE…
SLOWLY peel the entire piece of paper off the clay and admire your work! If any paper sticks to the clay, put a small dab of sanitizer on your finger and gently rub it off. If a large piece of paper sticks to the paper as you pull it off, STOP, and start peeling the paper from the opposite corner, this will often pick up this errant separatist paper. Allow the sheet to sit for a couple of minutes so the excess sanitizer can dry and the ink can dry thoroughly. (Transfers to Souffle clay are dry almost immediately!)
Once the ink has set, transfer the sheet of clay to the smooth tile and use the template or cutters to cut out your selection. If you are using a template, use the craft blade to trace around the template.
My transfers are 3.5” by 3.5”, which I know will yield 2 pendants and 3 earrings (I know, 3-not 4. Unless they are small). Once you have cut out all the pieces you wish, just peel the excess clay from the tile.
If it is the first time you have used this particular clay/transfer combination, I recommend that you cut a piece of the extra transferred area to bake and do a color check with your pens. It also helps to “learn” how you want to color the transfer.
I often roll the excess clay back through the Sculpey Clay Conditioning Machine (same setting) and cut out the Montarsi Easy Backs, using the middle sized round cutter from the Sculpey Circle Cutter set and the round cutter from the Sculpey Mini Cutters Basic Shapes set. A small oval will work as well. The shape for these Easy Backs are on the left side of this photo.
Slide your clay blade under each piece of clay to remove it from the tile. The Easy Backs go on the smallest mound that they will fit on the Sculpey Hollow Bead Maker.
The pendants can be gently pressed against the sloping area of the bottom of the metal bowl. Bake all the pieces (including the test piece) according to the directions in Step 1 above. Allow the pieces to cool before removing from the shapes. (Okay, at least cool to warm to the touch!)
Select the pen colors you wish to use and try them out on your test piece.
Start coloring your pendants, beginning with the lightest colors first. Use the black touchup pen AFTER you have colored an area. I prefer to wait until the coloring is complete, but I also know that one or two touchups and all of a sudden the transfer looks perfect, even though I almost trashed it for being imperfect!
Once the pendants are fully colored, I put them back into the oven at my clay baking temperature for at least 20 minutes to set the ink.
Use the side of the metallic marker to color the edges of the pendant.
Glue the Easy Bail into place with the small part of the back pointing to the TOP of the pendant. See where you can put the cording or chain through now?
I am normally not a fan of glazing my clay, but it REALLY brings out the sparkles in these Glitter Golds. When the ink has been set and the clay has cooled, I dip my glaze brush into water, wipe it lightly on a clean cloth (you KNOW I use my jeans right?) and then dip just the tip of it into the Sculpey Gloss Glaze. Apply a thin coat of this diluted glaze to the piece. Allow it to dry and apply a second coat if you wish.
I warn you, transfers are addictive! Ooops, too late…