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premo! Mokume Gane Bubble Neckpiece

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From $2.79

To $95.31

Pearlescent clay imparts a beautiful shimmer to finished beads, and adding Pearl clay to any color mix will add instant pizazz. In this project, varying sizes of circle cutters are used to create the beads for this graduated neckpiece, with smaller ovals used as anchors between each bead. Designed by Julie Picarello
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premo! Mokume Gane Bubble Neckpiece
premo! Mokume Gane Bubble Neckpiece

In stock

$2.79

Summary
    Deli paper Soft cotton cloth Leather cord Metal accent beads|Deli paper Soft cotton cloth Leather cord Metal accent beads

    Project Instructions

    Polymer 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.
    Mixing the Color PaletteLime = 1 part Bright Green Pearl, 1 part PearlDk. Blue = 3 parts Purple Pearl, 1 part Peacock PearlIcy Blue = 3 parts Pearl; 1 part Peacock PearlIcy Purple = 1 part Pearl, 1 part Purple Pearl
    Building the Color StackRoll each color of clay out on the #1 setting on the clay conditioning machine and cut strips of each color approximately 1 1/2”-2” wide and 3” long. In addition, roll Pearl clay through the clay conditioning machine on a medium setting and cut two strips the same size. Set the colored strips side-by-side on deli paper alternating light with dark colors, ensuring optimal contrast between colors when they are stacked together.
    Place the first two colored strips together, stack one of the Pearl strips on top and run through the clay conditioning machine lengthwise on the #1 setting. Do the same with the third & fourth colored strips to end up with two long strips of two colors each, both with Pearl on top. Don't worry if the strips are not sized identically, as they can be trimmed later in the process. Stack the two strips together and run one last time through the PM on the thickest setting. This will create one very long strip containing all four of the colors that should be cut into two equal pieces.
    Cut this long strip in half and align one of the cut pieces on top of the other. Cut and align the pieces on top of each other one last time, so that each color is represented four times in the full stack.
    Imprint a Pattern Hand roll the color stack to the tile work surface using the acrylic roller and ensure it has adhered firmly. Before imprinting, cut 1-2 thin slices from the short end of the stack and set aside; these will be used later. Spritz the stack with water prior to imprinting. Push the etch n pearl tools and different size cutters firmly into the clay but not so hard that the pattern is distorted, and keep in mind that designs can always be re-imprinted during slicing if the pattern is shallow.
    Slice the Stack Horizontally Hold the super slicer in both hands parallel to the work surface, and position the cutting edge just below the top of the stack. Begin slicing from back to front of the stack, maintaining the parallel orientation of the blade to the clay. As each slice is removed, place it gently on a piece of deli paper. Strive to keep each slice consistent in height - neither paper thin nor super thick. Also remember that you can "re-imprint" your pattern at any time as you are slicing. NOTE: If you encounter too much drag as you begin to slice, add scrap clay to both ends of the stack. This will help to minimize distortion in the patterned clay.
    Build the Beads Roll out some of the leftover clay on a #2 setting on the clay conditioning machine, and set a patterned slice on top of it. Roll out additional clay and texture if desired. Place this clay texture side down under the patterned slice, and brayer all layers gently together. Repeat this process until you can cut out three separate circles – one 2”, and two 1 1/2”. The thickness of each circle bead should be between 1/8-1/4”. Lastly, use the 1” circle cutter to cut two solid color shapes, and the 3/4” cutter to punch out off-center holes in them.
    Bake according to the directions above. When cooled, use wet/dry sandpaper in 400/600/800 grits and soft cotton to smooth and polish.
    Assemble the NeckpieceAs always, remember to use TLS liquid clay as a bond when connecting raw clay to cured clay. And in order to guarantee a good solid connection between the circle beads, multiple trips to the oven will be required. Begin by setting the beads face up on a piece of deli paper in the position desired. Working from the center out, add a very small amount of TLS to the outside of the largest bead at the pre-determined connection point, and do the same with the adjacent bead. Roll two small balls and push onto the TLS on each bead, then push the circle beads together. Repeat for all beads, adding a bit more clay to the junctions between each circle to further anchor them together. Carefully place the deli paper holding the connected neckpiece on a tile and bake the necklace according to the directions above.
    After the neckpiece has cooled, carefully turn it over and spread TLS over the junction points and press a small ball of clay over it. Follow with a larger circle, carefully pressing down to ensure contact to the raw clay below. Carefully transfer the deli paper holding the connected neckpiece on a tile and bake according to the directions above.
    After the neckpiece has cooled, gently turn it back over to the front. Spread a small amount of TLS over the junction points and press a small ball of clay over it. Roll out contrasting sheets of clay on a #3 setting, texture if desired, and punch out small ovals of different colors. Gently center the ovals at the junction points between the circles, pressing lightly to ensure contact to the raw clay below. For the last time, transfer the deli paper holding the connected neckpiece on a tile and bake according to the directions above.
    When cooled, use wet/dry sandpaper in 400/600/800 grits on the newly added clay and soft cotton or a bench lathe for a final polish. Attach the leather cord to the two end beads. Add metal accent beads to both ends and knot.