These are just four of dozens of texture stamps that I designed for polymer clay, metal clay and other moldable materials. We’re going to go ahead and start showing you one way to work with the clay and that would be to get a beautiful embossed effect using the garden glory stamp.
We took a sheet of white polymer clay and we applied Pearlidescent foil to it. You can see the tutorial on how to work with the foil and apply it to clay here on the website. We placed it upside down with a piece of deli paper on the backing and with one firm pass with an acrylic roller. We get a beautiful embossed effect. This created a lovely mother of pearl look. Let’s take a look at this a little closer. Isn’t that pretty? That would be a lovely surface effect for a wedding gift or some décor item.
Now we’re going to take a love letter stamp which is one of my favorites. You can use for embossed effects or you can just stamp on the surface of your clay. I’m going to take some black ink, either pigment or dye-based ink will work for this technique because once it’s baked in the heat of your oven it will make the ink permanent. So ink the area of your stamp you want to apply. Place the clay face down onto the stamp and lightly pat. This is going to create a surface imprint that has no embossed effect. It’s just going to look like it was screen printed on. Isn’t that pretty?
Now another favorite way that I like to use my stamps is for a technique that was discovered by accident and that is called the Sutton Slice. Let me show you a simple version of how to do this technique using the Crackle Stamp. The stamp should be fairly clean and dry so we’re going to avoid the areas here where we have a little powder from a previous project.
We’ll take conditioned polymer clay of any color that you choose and take small amounts at a time pressing it into the cavities of the clay. The clay should be dry. No release agent should be used. Take a sharp clean blade. Hold it down against the stamp and hold it stable with one finger. Arc the blade by bending it and shave across the top of the rubber by a pivoting motion. Be very careful. Pay close attention that you don’t cut your fingers. Continue to press in small amounts of clay into the cavity and shave it off. Now I bet right now you’re thinking am I going to cut the rubber. No you won’t. This has been very vulcanized. It’s very strong rubber. You can even put the stamps in the oven. Plus they make great oven mitts and door stoppers and trivets.
So let’s just fill a few more cavities here, shaving off the clay and go back and patch any areas you might have missed. Occasionally the clay wants to come out as you shave it. It could be that you might be working with one of the stamp designs that’s a little more shallow. All of the stamps are very deeply embossed but some designs are easier to work with than others due to the depth and the spatial relationship of the design. Once you fill the desired area of your cavities go ahead and very aggressively apply pressure as you shave across the top of the rubber. We want no clay sitting on the raised surface of the rubber. That will mar the effect of the Sutton Slice. Check it again to make sure all the areas are filled. You may have to go back and patch a few.
Then take a sheet of clay of a contrasting color. Place it over the top. Now we want release agent, STP Sevagun or Armor All Automotive Protectant Spray. A little bit on the back of the clay. Spread it around. This will prevent your fingers from sticking when I do what I like to call the happy finger dance. Just tamping it back in there very firmly. Once you’ve got it pressed in there very well you want to be working on a work surface, particularly a tile is best. But glass or anything smooth and slick should work. Remove the excess release agent. Place it down on your tile. Press firmly again over the impressed area of the stamp.
Now bend the stamp in half folding it backwards and very slowly while you look over the top of the stamp roll it back and reveal the textured Sutton Slice. If some clay should stick in the recesses of the stamp, simply roll it back in place, apply pressure with your finger tip in that spot and roll it back and it should press it right where it needs to go. Just like we got here. Let’s take a look. See how neat that worked? And then you’ve got a lovely textured piece of clay that you can bake. And that’s called the Sutton Slice.
Another quick trick is with your pasta machine. You would stretch the clay and with your pasta machine or roller, lightly roll it. Don’t go through too thin a setting at once, stretching it between settings as you go thinner and thinner. In this case we’ll just use the acrylic roller and continue to stretch keeping the negative spaces open until it’s completely flat and smooth. And I call this technique Textile Effect.
These are just one of literally dozens if not hundreds of techniques that you can use with my textured stamps. Let’s take a look at a few examples of some finished projects. Here again we see the Sutton Slice using a combination of my stamps. The About Face Stamp, the Love Letter Stamp, the Far East Stamp create raised embossed and detailed effects with stamps, clays and inks.
We’ve applied the Pearlidescent foil to lavender clay and embossed it with the Swirlique Stamp impressing crystalized Sarosky elements in the centers to create the back of this luggage tag. You can even use it on metal clays. The background of this fine silver art clay piece was done using the Love Letter and patining it with liver of sulfur after firing and then accenting with polymer clay.
I’ve even used the stamps to make the shanks of rings. This is from the Tumbling Leaf Stamp. The Crackle Stamp that we just saw makes a beautiful pattern for ring shanks. And this is from Persian Carpet. I even used the stamp to do the base of the spinner ring that you see right here. And those are just some real fun things that you can begin to do with my texture stamps.