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Tema: Polymer clay - tutorijali Objavljeno: 18 Rujan 2009 u 18:49 |
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monna-1
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Objavljeno: 05 Rujan 2009 u 18:01 |
Macrame - osnova
Follow this step-by-step tutorial to learn how to macrame with hemp or other cording. You can create comfortable beaded bracelets. This is a great summer activity for kids.

Materials:
- 100" 61-200 1mm hemp cord
- 5-8 23-286 Glass Roller Beads (or any beads with at least a 2mm hole)
- 1 Pony bead (or any 10mm bead with about a 3mm hole)
**Hint** A general guide to cord length for macramé projects... Start with about 10 times the finished length of the project. For example: This project is about 8 inches long. We estimated another 2 inches for knots, so our base measurement is 10 inches. 10 inches x 10 = 100 inches (total cord needed). We’re using a double central (filler) cord, so double the base measurement (2 x 10 inches) to give us a 20 inch center (filler) cord. Also needed is a 10" piece for the adjustable clasp. This leaves 70inches, plenty for the remaining (knotting) cord. The more knots in a project, the more cord used; the more beads used, the less cord needed.
Tools:
- Scissors or clippers
- Tape (masking tape works well).
- A clipboard makes your project portable.
Instructions:
- Cut cord into the following pieces:
One 10 inch piece One 20 inch piece This leaves a remaining piece about 70 inches.
- Connect cords.
- Find centers of the 20 inch and 70 inch pieces of cord. Place the 2 centers (or loops) of each cord on top of one another and leave all 4 ends dangling free.
- Find center of the 10 inch piece of cord.
- String the centers (loops) of the 2 cords into the the center of the 10 inch piece. Bring all 4 loose ends back through the center loops and pull tight. This knot is a half hitch.
- Make sure cording is even and all ends still match up.

- Anchor the project. This helps keep track of what step to do next, and secures the project in place. A clip board works well and allows for movement and storage of an unfinished piece. Secure the 10 inch piece of cord under the clip and let the long pieces of cording dangle. Tape the short pieces at the bottom of the board. Taping the whole project to a table will do the same thing as a clipboard, but is not as convenient if you want to move your project.

- Knotting- This bracelet uses one basic knot: the Half Knot. The long (Knotting) piece of cord on the right side will be Cord A, the 2 short (Filler) ones in the middle will be Cords B, and the long (Knotting) piece on the left side will be Cord C.
- Start with Cord A and bring behind Cords B, forming a loop with the A cord (about the size of a 50 cent piece) out to the right side.
- Now bring Cord C behind the long length of A (now on the left side) and over Cords B. Pull through the loop of Cord A.
- Pull tight. **Hint** The tighter the cord is pulled, the smaller the knot will be. Find the desired size and pull at that tightness through the whole project for consistency.
- Repeat step 4, but start on the left side instead of the right.

- Alternate sides (one knot starting from the left, the next knot starting from the right) for approx. 20 knots. Be sure it is an even number of knots. Pull knots fairly snug.
**Hint** Keep track of which side you are working on. After a knot is pulled tight, notice that the side to be worked on next is the side with the cord facing forward, not the cord facing the back.

- Add Beads
- Slide a bead over the Cords B (the fillers). Push up close to the last knot but don’t bunch up the knots. If bead is difficult sliding over cord, try twisting bead as it is pushed on.

- Go around the beads with Cords A and C. Then make a knot as usuall, with Cord A. (starting on the right side, assuming your last knot before adding the bead started on the left)
- Push knot up to the bottom of the bead.
- Add 3 more knots (left, right, left).
- Add at least 2 more beads the same way (adding 4 knots after each bead). When you add your third bead, test the length (on your wrist or ankle). Does it go about half way around? If yes, then this is the middle - only add 2 more beads. If no, then you can continue adding beads (with 4 knots after each bead). If you add more than 8 beads, you bead pattern will probably be off-center. Don't worry if it seems like the project might not be long enough. That piece of cord hanging back at the beginning makes this project any desired length between 6 inches and 12 inches.
- After adding your last bead, make about another 20 knots (the same number you made at the beginning).
- Make the clasp.
- After design is finished, slide the 10mm pony bead onto all 4 cords. Pull snug and tie a knot. This bead will go through a loop made on the opposite side.
- Trim cords and apply a drop of glue to secure the knot.
- Measure bracelet on wrist (or anklet on ankle) to find the desired length needed.
- On the opposite side of the bracelet (the 10 inch length of cording) tie a knot at desired length. About 3 of an inch past that knot, tie another knot.
- Trim excess cord and apply a drop of glue to secure the knots.
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Objavljeno: 04 Rujan 2009 u 10:45 |
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Objavljeno: 02 Rujan 2009 u 12:35 |
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Objavljeno: 02 Rujan 2009 u 12:18 |
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Objavljeno: 02 Rujan 2009 u 11:59 |
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Objavljeno: 02 Rujan 2009 u 11:53 |
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Objavljeno: 02 Rujan 2009 u 11:52 |
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Objavljeno: 02 Rujan 2009 u 11:51 |
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Objavljeno: 02 Rujan 2009 u 11:48 |
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Objavljeno: 02 Rujan 2009 u 11:46 |
Iterative Algorithmic Plastic Sculpture: Fimo Fractals
One of our favorite shapes is the Sierpinski triangle. In one sense, a mere mathematical abstraction, on the other, a pattern that naturally emerges in real life from several different simple algorithms. On paper, one can play the Chaos Game to generate the shape (or cheat and just use the java applet).
You can also generate a Sierpinski triangle in what is perhaps a more obvious way: by exploiting its fractal self-similarity. |
Beginning with a single triangle, replace that triangle with three half-size copies arranged so that their outer border form a new triangle of the same size as the original. Then, replace each of those three triangles with three triangles half that size, and so forth. (Turns out of course, that the fractal pattern is due to the algorithm of shrinking and positioning the shapes, not due to the fact that the initial shape that we began with was a triangle-- any plane figure can be used.) This algorithm is easy enough to implement directly and physically, using a flexible medium like polymer clay.
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We begin with a few packages of polymer clay-- two colors of Fimo Soft, in this case. (It's a common oven-hardening material that you can get at craft and art supply stores. Overused in some contexts, but still has its uses.) Knead it until it's actually soft and workable, a few minutes. It turns out, for the color pattern that we are using, that we need a lot more of the beige than the blue.
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Form the two clay colors into long triangular shapes. The cross section of each should be equilateral, with side length near 1/2" to 1". Using a knife, cut three equal-length sections of the darker color and one equal length of the lighter color, ideally using less than 1/8 of your total supply of the light color. Mate the three dark pieces to the sides of the light piece, carefully matching them edge to edge and avoiding air gaps to the extent possible. The stack, as presently assembled, is the first iteration of the Sierpinski triangle, with a total of three dark triangles.
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Press the stack of triangles together to make sure that the edges fuse well. Carefully and deliberately lengthen the triangle to at least 4 times its original length, taking care to preserve the triangular shape and keep the size of the cross section uniform along the whole length as you reduce it. Using a sharp knife, trim off the rough edges, which may not preserve the cross section as well as you would like.
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Cut the stretched "first iteration" piece into four pieces of equal length. Set one of the four pieces aside so that you will have a piece of "first iteration" material when you are done. Make a triangular prism out of the light colored material that matches the shape and size of the three main pieces, and again mate the three dark pieces to the sides of the light piece. The stack is now a realization of the second iteration of the Sierpinski triangle, with a total of nine dark triangles.
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Again stretch the result from the previous iteration, cut into four pieces of equal length and set one aside. Make a new light colored prism the size of one of the quarters, and mate the three dark pieces to the edges of the light colored piece. The third iteration, shown here, now has a total of 27 dark triangles.
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By now, you should have the hang of the iterative algorithm for making the fractal. Again, stretch and cut the result from the previous iteration, and mount it to the sides of a new light-colored prism piece. The fourth iteration, lower left, has 81 dark triangles. On the lower right you can see a piece of fourth-iteration material next to the set-aside pieces from the first three iterations.
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The fifth iteration has 243 dark triangles. Starting to get interesting, no?
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The sixth iteration, on the far right has 729 dark triangles; it's really looking excellent now.
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By the time that we get to the 2187 triangles of the seventh iteration, we begin to reach the point of diminishing returns; it becomes harder to see the wispy blue lines that remain, and be begin to lose contrast. Using a color combination with better yet contrast might make another iteration or two more impressive.
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The next step is to cut, drill, or otherwise prepare the material as desired and bake to harden the clay. The set of earrings was made with the sixth iteration material, with its great detail and contrast. A set of little tiles showing the different iterations also makes a great little handful of fractals. (You can see more pictures of this project and our results in this photo set.)
These, and the process of making them, are great visual aids for iterative processes, fractals and self-similarity. This construction process is certainly one that could be adapted to iterate slightly different generating functions; it will be interesting to see what else can be generated by this method-- What kinds of fractals can you produce in clay? |
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Objavljeno: 02 Rujan 2009 u 11:39 |
How to sculpture a fimo sheep
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Objavljeno: 02 Rujan 2009 u 10:45 |
Making a Tiny Cupcake out of Polymer Clay
Follow my blog with bloglovin´OK...so I get a lot of convos on Etsy.com asking me how I make certain products. Here are a few shots of me making a teeny tiny cupcake that will be going into a tiny glass jar. Please excuse the picture quality as I was multi-tasking. The cupcake is only a little over 1/4"     tall. The first picture is just some of the tools that I use. I take pieces of leftover clay and make my own "stamps" to make waffles and other pieces. The second picture is me slicing a tiny ball of pink Fimo clay. This will be the base of the cupcake. I then roll the clay into a tiny ball. Rubber gloves help. I also use a plastic placemat as my work surface. I then score the sides of the pink ball to make the wrapper.  I then use liquid sculpey as an adhesive. A tiny dab will do 'ya. Next, I take a tiny strip of light blue Fimo and roll into a thin strand. I wrap this strand around as the frosting on top of the pink base.   I top the cupcake with a mixture of liquid sculpey and polymer clay. I used a toothpick to swirl it around. Next comes the "sprinkles", which are made of pink glitter. Last, but not least, I top it off with a tiny rolled ball of red Fimo clay for the cherry. Voila!  
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monna-1
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Objavljeno: 02 Rujan 2009 u 10:30 |
Image Transfer Tutorial
If like to try out an alternative for those expensive iron-on, then maybe you should have a look at this! I love this transfer technique, it's cheap, easy and fun because you can achieve different "looks": from distressed to crisp images...it's worth a try!
What do you need:
soap shavings
turpentine
a piece of fabric and a fresh inkjet print
and : a well ventilated workspace!
Get a cup and fill it 1/4 with hot water, add two tabelspoons of soap shavings and stir. Then add a table spoon of turpentine and keep stirring until it looks like this:
Now we're ready to print! get your piece of paper and apply the soap and turpentine mix to the front of your print:
Then put it face down on your piece of fabric. Press it down firmly and apply the mix to the back. The paper will become slightly transparant. The mix can be applied quite thick, as long as you are careful not to rip up the paper. I like to use my hands to rub down the print, but a spoon is very handy too, it depends of the effect you desire:
Now peel back carefully ...and there it is!
How to "set" the print
Of course you don't want your image to fade after the first wash, but please note that that transfer technique is experimental : depending on the mix and amount of soap and turpentine you will get a stronger or weaker print. There are a few tricks for settings the transfer though:
Let your transfer dry for 24 hours. Get a spraying can ( you know, for spraying or watering your plants) and fill it with 50% water and 50% white vinegar. Spray it on the transfer and let it dry. After that you have to iron your transfer on high temperature or use a heat press. Repeat the last two steps( (spraying can and ironing) a few times, but don't rinse in between. When you have done this 3 or 4 times you can take an additional step and use some varnish on the transfer The fabric will become a bit stiffer, but if you do it carfully with thin layers you can obtain a nice result. This last step is recommened for transferring on t-shirts, but if you are just making appliques or transfers that don't need to be washed frequently, you can skip this step.
Ok, that's it! Feel free to post your comments and questions here, i'll try my best to answer them!
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Objavljeno: 02 Rujan 2009 u 10:26 |
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Objavljeno: 02 Rujan 2009 u 10:22 |
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Objavljeno: 02 Rujan 2009 u 10:18 |
The easiest way to get a glaze is buy a ready made one in your ceramic supply shop. For those who like to experiment a bit more, you can mix 'em yourself. That's what I often do. It's a bit more work but it's cheaper and the surprise is bigger when you open the kiln! :) I never tried to make a red glaze yet so I decided to try if it would work with red iron oxide. Here is what you need: Transparant glaze powder (also that you can make yourself but at the moment I use ready made), oxide/pigments/stains, a sieve with a very small mesh, water, containers with a tight lid, a protective mask, a brush, a spoon, some paper and a scale.
I usually make small amounts so I can make a test tile first. Weigh 100gr of transparant glaze powder.
Then add pigments, body stains or oxides. All three have a different effect on the color. While the result of pigments or body stains are more obvious, the use of oxides is less predictable. So sample tiles are in order before making large amounts. I usually take 3 or 5 grams to 100 grams of transparant glaze. For the red glaze I'm trying to make right now, I'm going to use red ironoxide and I take 10 grams to 100 grams of glaze because I'm afraid that I will get a pink result if I use less. Put a piece of paper on your scale and weigh the pigment, body stain or oxide on the paper.
Then add the color to the glaze.
Add water & mix the glaze.
 Then put the glaze through the sieve in a container. Using the sieve prevents lumps and makes sure that the color is mixed well with the glaze. I use my brush to push it through the sieve.
When you're done, write a label on your container so you know what you mixed.
Then make a sample tile and fire it. If it's too dark, add more glaze to it or a bit of tin oxide (which makes it lighter).
This is the result when it's fired... ouch, not quite what I had in mind! LOL More experimenting is in order for sure! :)
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Objavljeno: 02 Rujan 2009 u 10:15 |
When you make a positive mould, you press clay onto the mould instead of into the mould. Usually you work with clay plaques and that's what I'm going to do too! First I'll show you how to make the mould, which is a piece of cake, and then I'll make a little plate that you can use for fruit, chocolates, tealightholders,... Here is what you need: a bowl, liquid bees wax, paintbrush, plaster, container to mix plaster. I usually use old ice cream containers because that allows me to eat icecream! :)  Take some liquid bees wax and brush it into the surface of the bowl. This will make sure that the plaster won't get stuck on the glass.  Make some plaster ready in the plastic container. Mostly it is made with 1 part of water and 3 parts of plaster but it depends on the kind of plaster you use. I always go with the pyramid method: you poor the plaster into the water at the same place and a pyramid will form. When the pyramid doesn't suck any water anymore, it's enough plaster and you can start mixing it with the water. If you like that the plaster will set quickly, you can use lukewarm water or add a pinch of salt.  Mix the plaster with the water. If you don't want rough hands, you better wear gloves.  Then poor the plaster in the bowl.  Shake a little bit with the bowl so that the airbubbles that are in the plaster can come out. Let it set for about an hour.  Then you can take the mould out of the bowl. It's a perfect round & very smooth. It's still damp and needs to dry a few days befor you can use it. I usually put it in the sun,on the radiator or on the lid of the kiln so that it dries quicker.  The mould is dry so now we can use it. Take a piece of clay.  Put it in between two wooden sticks.  Use the rolling pin to roll the clay flat.  When the clay is rolled out, make it a bit smooth with an old credit card.  Then place a square piece of paper on top of it and cut away all the edges so that a nice square remains.  I usually put flat pieces on a flat plate of plaster and go over it with a credit card again so that there are no bumps.  Then you take the square and drape it over the mould.  The mould will suck the water out of the clay & the shape will remain. After a few hours, you can take the dish away from the mould and it looks like this.  I'm too impatient to show it to you when it's fired & glazed, so I just put some chocolates on there so you can see how it will look when it's totally done! :)  You can also use the mould in a different way to make a bowl. When the clay plaque is rolled out, you drape it onto the mould.  Then take a little wet sponge and press it gently against the mould.  Take away some of the excess clay around the mould.  Then with a soft rib you go over the clay plaque and press it gently against the mould and make it all smooth.  Cut away the excess clay.  Finish the edges smoothly with the soft rib and let it dry slowly upside down.  This bowl holds even more chocolates I think! :) 
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Objavljeno: 02 Rujan 2009 u 10:09 |
Since I was making a few moulds today, I remembered that I planned to make a tutorial on how to make a plaster stamp. Plaster stamps are not hard to make and they are great fun to use in your modelling projects. You can use regular stamps too but they are much softer so somtimes it's hard to use them for pressing into clay.
Here is what you need: a rolling pin, a cutter, a stamp and a piece of plasticine. Plasticine is soft clay made of plastic so when you poor the plaster in there, it will come off very easily afterwards.
 Take a piece of plasticine and kneed it a little bit.  Make a flat piece with a rolling pin. Make it about 0,5cm or 0,2inch thick
 Press a stamp into the flat piece or plasticine.
 Make it nice and round with a cookie cutter.
 Roll a flat piece of plasticine and twist it around the stamped piece.
 Let the ends cross each other and cut the excess plasticine away with a knife.
Press the plasticine clay firmly together on the bottom so no plaster will be able to escape.
Make some plaster ready. Mostly it is made with 1 part of water and 3 parts of plaster but it depends on the kind of plaster you use. I always go with the pyramid method: you poor the plaster into the water at the same place and a pyramid will form. When the pyramid doesn't suck any water anymore, it's enough plaster and you can start mixing it with the water. If you like that the plaster will set quickly, you can use lukewarm water or add a pinch of salt.
Poor the plaster into the plasticine mould. You can also poor liquid (porcelain) clay in there and fire the stamp.
Let it set for a while and take the plasticine away. Cut away the rough edges with a kitchen knife.
Now you can stamp your heart out in any modelling material. :)
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Objavljeno: 02 Rujan 2009 u 10:07 |
I'm sure you had a go at macramé at least one time in your life. It used to be immensely popular and owls and plant hangers were made abundantly. Among kids, macramé is used to make little friendship bracelets and the use of different colors of yarn makes it a fun activity. This tutorial shows you how to make a macramé doll which you can use as a promotional item, add it to your giftwrapping, make a key chain from it, add it to party favor bags,... Here is what you need: cotton twine, tape, scissors, a waterproof liner, wooden beads  Cut a piece of twine, fold it double and tape it onto the table with the folded side on the bottom.  Cut another piece of twine and put it underneath the folded twine.  Then take the end of the twine underneath and put it on top of the folded twine.  Now take the twine on the right hand, put it underneath the folded twine and make sure you put the end of the twine through the loop you created first.  Now pull on both sides. Your first macramé knot is ready.  Repeat the above process a few times. Always put the twine over the folded thread where you see the little bump (right in this picture)  Then you go with the twine through the loop on the other side.  Make about 5 knots.  Then you pull the wooden bead through the folded part of the twine.  You see a loop on top of the head now. This might be too long so pull the little doll's legs until you think it's long enough. Leave room to make a knot too.   Then make knots on all the ends of the doll for the arms and legs.  Cut off the twine that is too much.  Draw a little happy face on the wooden bead.  The little macramé doll is ready to conquer the world now...
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