Double-Strand Necklace with Copper Chain, BRONZclay™ and COPPRclay™
-- Designer --
Tammy Honaman, Author, Jewelry-Making Expert and Educator, Exclusively for Fire Mountain Gems and Beads®To learn more about Tammy Honaman, read her jewelry artist success story here
: : : Materials : : :
- BRONZclay, 1550-degree formula
- COPPRclay, 1700-degree formula
- Bead, African ''turquoise'', 4x2mm heishi
- Bead, African ''turquoise'', 14x12mm flat oval
- Bead, antiqued copper, 5x1.5mm beaded rondelle
- Headpin, copper, 2-1/2 inches with 1.75mm ball head, 22 gauge
- Jumpring, antiqued copper-plated brass, 6mm round, 18 gauge
- Acrylic roller
- Texture plates, plastic, clear, 5x4-inch
- Klay Kutter tin set
- Non-stick, Teflon, white, 6 inch art sheet
- Needle files, 5-3/4 inch
- Brush, fine steel wire, 8-1/4x5/8-inch
- Polishing cloth, Moonshine, 7-1/4 x 5-3/8 inch
- Paragon kiln, model SC-2, 1400W-120V
- Snake roller, acrylic
- Polishing paper, green, 400 grit, 5-inch square
- Polishing paper, grey, 600 grit, 5-inch square
- Polishing paper, blue, 1,200 grit, 5-inch square
- Polishing paper, pink, 4,000 grit, 5-inch square
- Polishing paper, mint, 6,000 grit, 5-inch square
- Polishing paper, light green, 8,000 grit, 5-inch square
- Slats, acrylic
- Super slicer
- Firing pan and lid, stainless steel, 7 x 6-1/2 x 4-inch
- Carbon, clay firing, acid-washed coal-based
- Carbon, clay firing, activated coconut shell-based, for BRONZclay and COPPRclay
- Beads, turquoise
- Pliers, chain-nose
- Pliers, flat-nose
- Pliers, flush-cutter
Paintbrush, fine-tip artist
Nail board, medium-fine grit, cushioned
Olive oil, small container
|Place the new pinch of clay in between two stacks of slats, 7-high.
Using the roller, begin to roll out the clay. After passing over the clay twice with the roller, pick it up and flip it over--this will help prevent the clay from sticking to your work surface. If the clay is already sticking, ball the clay up, re-oil the work surface and start again. Roll the clay until it is the thickness of the slats.
Tip: As you roll out the clay, have a sense of the final shape you need so you can dictate the movement of the clay as it is thinned out.
|Pick up the clay and place it onto the oiled area of the texture plate. Place slats, 5-high, on either side of the clay, placing the slats on top of the texture plate. Roll the clay out until it is the thickness of the slats.|
|Remove the clay from the texture plate and place it onto the oiled area of the straw. While holding the clay that is already on the straw, carefully wrap the rest of the clay around the straw until each side meets and you have a little bit of an overlap.|
|If you have a large overlap, use the super slicer to trim the excess.
Where the two sides overlap, press on the clay to bring the two layers together and blend so there is little evidence of the seam.
|Using a paintbrush, apply water to this area to assure the layers meld together. Depending on the pressure you used for this step, you may find the texture is distorted in the overlapped area--gently press the texture plate on the spots that need touch up. If needed, use the super slicer to trim the ends of the tube. Set the straw aside so the clay can dry.
Tip: You can place the straw across two cups or other stable objects so the clay is not resting on a flat surface.
Tip: By removing the tube from the straw, more of the surface area is exposed so there will be less drying time; also, as the clay dries it shrinks--the shrinkage could cause cracking as the clay shrinks against the straw or it could become "stuck" and not be able to be removed at all.
|Unwrap the clay in the plastic wrap and pinch off a small amount; rewrap the remaining clay. Place the clay onto your work surface between two stacks of slats, 5-high. Roll the clay out as you did in Step 3. Move the clay to a non-stick work sheet. Using the small circle cutter, cut out two discs. Using the point of an awl, place a hole in the center of each disc. Set these aside to dry.|
|Unwrap the clay and pinch off a small amount. Using your fingers, roll the clay into a thin snake of clay, thicker than the walls of the tube. Using a paintbrush, wet the underside of a disc and the edge of the tube.|
|Press the snake onto the edge of the tube and then press the disc on, making sure the disc is centered over the tube.|
|Apply a bead of water all the way around and then blend the excess paste so it is worked into the texture or so you have an additional layer of texture along the edge.
Repeat for the other end of the tube. Set the tube bead aside to dry.
Assembling the Tassel and Necklace
Large loops of chain are added to the tassel, allowing you to wear the necklace at different lengths depending on your outfit or the look you are going for.
Cut one of each the following lengths of 5x3.5mm chain:
- 5 inches
- 8 inches
- 10 inches
Repeat adding as many copper bead drops to this section of the chain as you'd like. Repeat adding turquoise bead drops to the chain, adding color and more texture to the tassel.
Loop the beaded tassel through one of the loops to wear it long or short. Add more loops of chain to offer more options.
: : : Additional Resources : : :
- ''Making a Wrapped Loop and Double-Wrapped Loop'' how-to video and illustrated instructions
- ''Opening a Jumpring'' how-to video and illustrated instructions
- Tips for Working with Bronze and Copper Metal Clays
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