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Stampa-Gané Method for Polymer Clay

By Lisa Pavelka

©All Rights Reserved, Lisa Pavelka

This method is an offshoot from the basic Mokumé Gané method used in polymer clay. It is adopted from the traditional metalsmithing technique of the original art form made from various metal alloys. Pronounced: “Mah-ku-may Gone-ay,” the technique was discovered in the 17th century by sword-maker Denbei Shoami, in Japan. The term literally means: Moku - wood, Mé - eye and Gané - metal. It is also often translated as “wood grain metal.” His artistic discovery was the result of a serendipitous accident. The original intention was to find a way to strengthen swords by layering various types of metals. He discovered that when these layered metals were cut against the grain, various and intricate patterns emerged. Polymer clay is an ideal medium for achieving unique, pleasing patterns for surface decoration based on the original Mokumé Gané concept. There are many ways to

create the effect both for abstract and pattern-specific surface treatments. Basically, the technique involves creating stacked sheets or loaves of layered, rolled or folded clay. The clay is then manipulated or distorted by piercing, cutting, or pressing with tools or textures, which is the focus of this workshop. Taking this versatile concept one step further can involve the incorporation of inclusions such as metal leafing, foils, inks, acrylic paint, or embossing powders. Various means of manipulation can also be combined when creating the loaves or layered stacks that make up a Mokumé Gané block. Once created, thin slices are shaved off of the block and typically rolled into a clay base until the two levels are melded seamlessly. Stampa-Gané (Stamped Mokumé Gané Formation) 1. This is merely one way to achieve the Mokumé Gané effect with the use of texture plates: select three colors of clay that compliment one another, yet have some contrast (although fewer or a greater number of colors may also be used.) After conditioning all the clays from lightest color to darkest, roll out each color on the 4th largest setting of the pasta machine. 2. Trim each sheet to 4” x 4” and stack one over the other in an order that alternates the contrast the most. 3. Roll the stack through the largest setting of the pasta machine and cut into quarters. 4. Stack these pieces, one over the other, so that the colors continue to alternate. This will create a striped loaf. (Image A) 5. Press the loaf down firmly over a deeply detailed texture stamp. This will compress the layers and form internal patterns. (Image B) 6. Shave very thin layers from the textured clay loaf using the clay blade. Detailed patterns may not begin to appear until you’ve repeated Step 5, two or more times. If this

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is the case, just press the first shaved layers on the underside of the stack. Continue repeating the instructions in Step 4 until interesting patterns emerge. (Image C) Tip: Flexible clay blades work best for shaving. Blades should be clean and sharp. Bending the blade into an arc may be helpful when making shavings. Tip: Examine the slices from both sides to determine which patterns are more appealing. Often the underside of the shavings is the more detailed of the two. 7. Place the slices face-up randomly over a layer of a fourth color of clay for the background color, or one of the colors used, as desired. Roll the slices into the background using an acrylic roller until they are melded together seamlessly. Cut these sheets into shapes for jewelry or apply larger sheets onto bake-able surfaces. Tips: Mokumé Gané slices are also beautiful over beads formed from unbaked clay. Another favorite use is to add these shavings to a thin clay veneer that is wrapped around a pen barrel or bake-able tool handle. The base layer of clay should be a very durable brand of clay. The shavings from the stack should be as thin as possible. Layer larger slices around the barrel/handle first. Fill in as much or as little of the background with small pieces torn or cut from larger slices. Roll the barrel/handle until the slices are embedded seamlessly into the background. Trim excess clay from the ends and bake for at least 30 minutes at the recommended temperature. Remove all ink cartridges and sharps blades before covering and baking. Polishing the finished barrel/handle is optional. More information on Mokumé Gané methods can be found in “The Complete Book of Polymer Clay” (Taunton Press).

A. B.

C. D.

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Tip: With continued work, the loaf will not only get thinner, but it will also flatten and spread. When this occurs, you can cut the loaf in half and restack to give greater height to stamp and slice from. Variation: The above method will result in random patterns. For more specific patterns using stamps, make a clay sheet (as opposed to a larger loaf) from thinly rolled layers of three or four-stacked colors of clay. Impress the sheet very firmly so that it is deeply embossed. This will only be done once as opposed to the random-effect method described previously. Shave off the raised areas of the pattern to reveal the pattern below. Try to shave as closely to the lower recesses formed when stamping as possible without shaving too deep or this will cause you to lose the patterning. If any slightly raised areas remain, they can be smoothed flat with the roller. The myriad of options and varieties that can be achieved with a single concept like Mokumé Gané are enough to boggle the mind! More advanced concepts may include using a gradient “Skinner Blended” sheet as your background for shavings. There is truly no limit to the creative possibilities for this technique. Basic Polishing Method for Polymer Clay Wet sanding is preferred over dry sanding. When dry sanding, wearing a dust mask is advised. Use only automotive or lapidary grade papers. Off brands and household use papers may differ significantly from these types of sandpapers. Begin with 400 or 600 grit wet dry sand paper (depending on how smooth the clay is to start with). Tip: The smoother and more even the clay surface is finished before baking, the easier and less time consuming sanding and polishing will be after baking. It may not be possible to create a smooth even surface without damage to the design by sanding unless the surface is divot free before baking. Each person develops his or her own sanding method depending on what’s comfortable. I like to cut my paper into small squares so it’s easier to handle. Rotate the area being sanded often to prevent flat spots from forming. Once the piece is as smooth as it seems can get with one paper, rinse the clay and move on to the next higher grit. The grit worn down from the original coarseness it started with. Discard it when you’ve used all the visible surface area. Continue working through 800, 1000, 1500 and 2000 if desired. Higher grits are available, but not necessarily worth working with if sanding is well done. Buffing will provide a higher shine. Vigorous buffing with piece of old blue jean denim is the most economical method. An even higher shine can be achieved by using a bench grinder or jeweler’s buffing wheel. Use a non-synthetic, muslin wheel with no outwardly spiraling stitching. Stitching that radiates through the muslin layers from the center of the wheel actually makes the wheel more abrasive. If you can only find wheels with stitching, cut and remove it, leaving only the stitching in the center hub that holds the wheel together. Work in an area without breakable objects. A dust mask and protective eyewear are highly recommended, especially if you are doing a lot of machine buffing. A wheel may emit a lot of lint and dust when new. Even though this subsides over time, it will always release airborne particles as long as the wheel is in use. Replace the wheel when only a 1.5” radius of muslin remains.

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Turn the wheel on at full speed. Barely touch the clay to the wheel’s surface while buffing. Center the area being buffed in the middle – top portion of the wheel facing you. With flat objects, do not angle the corners and edges into the muslin. This can cause the object to be pulled from your hand and become a flying projectile! Always maintain firm control of the clay as you buff. Do not allow it to be pulled down and under the wheel. Make sure all loose hair and clothing is pulled back. Pressing clay too firmly against the wheel will actually sand the clay and cause flat spots; even with a very soft muslin wheel. You’ll know if you’re applying too much pressure because the clay will become more and more matte in appearance instead of shining. As with sanding, move the clay continually for best results.

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