Polymer clay pin, by Sally White
Condition and roll out white Sculpy III to desired thickness and size.
Photocopy image to transfer to the clay. If image has words, photocopy in
reverse so that the transfer appears "right side up" on the clay. Set
copier to "dark" to ensure plenty of toner is used on the copy (this process
will not work using copies from a laser printer).
Cut out image and place paper image side down on the clay. Gently rub paper with finger to smooth out paper and remove any air bubbles between the paper and the clay. Allow image
to "set" for approximately 30 to 45 minutes. The back of the paper will
begin to turn oily. Slowly remove paper from clay to see image.
Gently "age" the clay edges with a straight pin, comb, or other object. Place white piece of clay on top of a slightly larger piece of black Sculpy III.
Bake in oven according to package directions. (I bake in my kitchen oven, even though everyone says NEVER do that, always use a toaster oven. I'm not dead yet. And if I didn't cook polymer clay in my kitchen, I'd never go in that room at all!)
When piece is cool, rub or brush brown acrylic paint over the piece and
quickly remove excess paint with a paper towel. The brown paint will remain in
the "antiqued" distress marks.
To finish, adhere pin back.
Warning:  I was gung ho yesterday to make tons more of these pins.
Alas, the entire project was a wash! I used a combination of white Sculpy III and
translucent Sculpy (mixed together). For some reason, the images did
not transfer at all! So I would recommend using a "straight" clay, nothing
mixed. I spent hours conditioning, rolling, cutting, transferring, etc., only
to end up with "blank" pieces, which I then just rolled together into one big ball!
Jean John
Purple People Eater Pin
First I flattened the lavender clay in the pasta maker and cut out a
circle with a round cookie cutter.I cut out a smaller circle for the
head. The hair was made with ropes of swirled purple and green clay and the
bug eyes are purple beads secured with Goop glue after baking. I added
small pieces of clay for the cheeks, nose, and neck. I baked it 20
minutes at 250 degrees and when it was cool I painted it with Mod Podge to
make it shiny.

Black and Silver Pin by Jean John
This pin was made from a cut out of gray clay that was first flattened
in the pasta machine. I made a border of dots with a clay tool and
baked it in the oven for 15 at 250 degrees. Then I glued on the beaded 
piece and glued on the pinback with Goop glue.
I added some silver pen embellishment to the border.

Fish of Many Colors Pin by Jean John
I flattened a piece of blue clay in the pasta maker and then cut out
the fish shape with a knife. I then made design impressions with a clay
tool and added dots of different colored clays for the eye and the
scales.I baked the pin in the oven for 15 minutes at 250 degrees.
I  then used some liquid acrylic paint and silver and gold pens on some
of the scales
The pin was painted with Mod Podge to make it shiny and the pinback was
secured with Goop glue.

Translucent  Pins:by Catherine Withrow                       Jersey Ridge Arts jersey@cin.net
Utilizing Gwen Gibson's instructions (and variations) from her video, "Faux Bronze Magic for Polymer Jewelery", I created three pins with inset frames.
Images for two of the pins were made using art stamps (Post Modern Design); the third used clipart.
The images are created by stamping or transferring the image onto very thin translucent clay (setting #7 on Atlas pasta machine).  The translucent clay is then painted with an acrylic wash, on the image side.  Once dry, leafing size is applied, allowed to dry and then the translucent image is mounted on a thicker sheet of translucent clay that has been silver-leafed and crackled.  Trim the completed image to desired shape.  Bake according to manufacturer's directions.  Sand and polish.

The translucent image is now ready to be framed. Trace around your completed image on a sheet of conditioned clay and cut out.  Trim the open frame to desired shape.  Insert translucent image in opening, flip over and add another sheet of conditioned clay to the back, flip again and trim entire construction to desired shape.  Smooth, texture and embellish as needed.  Bake entire piece for approximately 7 minutes  then remove translucent image; return the frame to continue baking for manufacturer's recommended time.  Sand and polish frame.  Insert translucent image in frame.  Add pin back.

The 'David' Pin was a transfer with a b/w laser print...you can see that it is less clear and less distinct.  I don't have a color copier that uses toner so I haven't tried that transfer method yet.  The laser image is burnished to the clay and alcohol is used to aid the transfer process.  Once the image is transferred, complete the process as above.
Stamped and moulded clay pieces: Gillian Allen
I used the clay as I would paper. I chose 3 coloured Fimo clays I thought worked together, black, terra cotta and translucent. Thinly rolling out with a brayer on freezer paper (using butterscotch and caramel inks on the brayer for the translucent). I then stamped into them with black ink and tore pieces off and layered them in an arrangement that felt comfortable, gently pressing together. I brushed some embossing ink from a refill bottle into a metal charm then pressed some clay into it (this allows it to come out easily). I arranged this piece into the collage. Some pieces had coils added or a metal charm. Pear Ex in antique gold or copper was sparingly applied to areas. Some of the pieces I thought were to thin so I laid them onto a thicker piece of rolled out black, which did make them a bit heavy for pins. Once fired, I hot glued a metal pin on the back
Stamps used :Acey Deucy, Stamp Connection, Stamp Cabana

I experimented with a lot of materials
: A small piece of gold leaf was placed onto rolled out clay then rolled it out further, which resulted in a nice crackle, small pieces were coiled and used to edge the frame on this pin which was stamped with A Lost Art Stamp, Pearl Ex was painted on and after firing painted with Diamond Glaze for a shiny finish, a metal charm star was hot glued on.
Fake stones Gillian Allen
I wanted to experiment with colouring the clay and after reading Donna Kato's 'The Art of Polymer Clay' , I tried to make some Jade. Using translucent, china jade and some black fimo mixed together, I made beads with varying proportions to get the subtle variations in the stone. After baking I strung them together and used some wire that I coiled around a knitting needle for accent
If you dont mix the colours too much you get some interesting marbled effects. Leftover scraps were thinly rolled out and draped over a shell shape to make this stone for a pendant. You can play around for hours making faux semi precious stones
Mini Box: by Sarah Richardson
Condition clay.  Roll through pasta machine on thickest setting or roll by hand to approximately 1/8th inch thick.  Stamp background design into clay.  Use either talc or embossing fluid on stamp to prevent sticking.  Wrap the clay around the sleeve of a matchbox.  Overlap the edges and trim to fit.  Gently press seams together.  If stamped impression is lost you can press it into the stamp again.  Bake clay with sleeve for 15 to 20 minutes at 275 degrees.  Allow clay box to cool and remove the paper sleeve.  I used needle nose pliers to pull a little bit of the paper at a time.  Stack three or four layers of flattened clay and press the box opening firmly into it to shape the lid.  Stamp background design into top of lid.  Cut around the outside impression with scissors or an x-acto knife.  With an awl or toothpick make two holes for the handle.  Bake the lid.  Make a handle with wire and beads.  You can now embellish the box any way you want.  I added a clay medallion which was baked separately and attached with Jewel-It glue.  I also antiqued the box with burnt sienna acrylic and gold brilliance ink.  Rub and Buff
Rocks: by Tracie Miser
The ones that look more realistic: mix translucent clay with kitchen spices
such as pepper, paprika and oregano. Roll into ball..flatten out a bit
and stamp "DREAM" into them. Bake as directed.
For the colored ones: whatever color clay you like..roll out, impress
image and bake. Then color with lumiere paints or highlight with Krylon pen.
I have also done them with people's birthdates on them...nice gift. And
also you can take a few pieces of cardstock for thickness...impress into
clay..as a holder and then you can use the rock for a pic/card holder on your desk.
Black pin with silver foil-by Lisa Wollman-Bolick
Roll a sheet of black clay for a base. Use another sheet for the silver
trim. Put a sheet of silver foil on the black clay and run it twice
through a pasta machine. Cut strips from it to frame the pin. Make some
textures on pieces of scrap clay. Dust them with metallic powder or fine
glitter (I've used PearlX). Layer them together and cut out a shape
with a cutter or blade. Centre that on the black base sheet. Lay the foil
strips around the metallic piece, leaving a border of black clay. Trim
the entire pin, making the foil strips the desired width(these are
about 1/8 inch). Bake and finish with acrylic floor wax or glaze.
Silver pin with stone-by Lisa Wollman-Bolick
Roll a sheet of scrap clay for the base. Put a piece of clay of the
desired color on top and push it around with a flat bladed tool like a
small screwdriver to give it some texture. Mix together some black and
silver clay in a snake so that the clay has a marble-like appearance and
run it through the pasta machine or roll it with a brayer. Cut one long
edge of the silver mixture with pattern scissors or pinking shears. Lay
the strip with the cut edges facing the centre and trim to the desired
shape and size. Lay a stone, shell, or other item in the centre. Take a
piece of wire and bend both ends down so that the middle is like an
inverted U and the ends go horizontal. Press the wire around the stone,
making sure that the ends are hidden in the clay. Bake and finish.
Green odd shaped pin-by Lisa Wollman-Bolick
Paint scrap or colored clay with different acrylic paints. Metallic
powders can be mixed with the paint first. After the paint dries, run the
clay through the pasta machine so that the clay develops "stretch
marks" and texture. Tear the clay into rough shapes and layer it on another
sheet of clay. Cut out shapes and layer them together. Cut the final
shape. Bake and finish with wax.
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Moulds: by Shauna Palmer
I learned a lot from my first attempt...this is the first time I've played with clay since the play-doh days as a kid! Moulds are those I purchased from and online vendor and
also moulds I made from modelling putty.
After generously brushing the moulds with talc, I pushed a semi-flattened ball of clay roughly the diameter of the desired object into the mould.  It was pretty tricky holding the mould and flattening the clay with it all moving around because of the
talc.  There's a lot more to this than meets the eye,whew!!!! I thought the Sculpey clay was way too soft for this project and will try Fimo next time. I liked the translucent clay, it was easier to work with and a lot firmer than the metallics. I can't wait to try something more challenging and three dimensional...
Mini book and mini box: Gillian Allen
I got a pasta machine for my birthday-didn't know what else to ask for (sad) but started to get to grips with it now and am whizzing the clay through at a fast pace, it makes it easier to use and you get an even thickness and as thin as you like. On the last setting you can stop the tearing by sandwiching it between grease proof paper, needs some practice, but then there are so many things you can do with it. I used some mistakes/failures/leftovers for these pieces. A mini book-2 thin fired clay stamped sheets stuck together for cover, cut to size paper with card back, then drilled holes (drill for Christmas(sad too) and sewn with wire. Mini box- thin scraps layered onto matchbox and fronts, fired and wrapped round with wire and seed beads, added larger beads for legs. Not very professional but will be working on this
These experiments might be useful for embellishing projects or the focal point of  a piece. Sun God: Stamped into clay then baked, embossed with copper and verdigris, fibres glued with hot glue gun
African lizard:Cream coloured clay stamped into, baked then umber acrylic paint brushed over then wiped off when slightly drying. Set into stamped terra cotta
Turquoise Circle: Tried painting on Luna Lights paints in gold and teal, added crackled gold leafed clay top and bottom, then fired .
Using the same stamp with different treatments. 1 Silver/gold leaf crackled and stamped, fired, then a thin application of Liquid Sculpey brushed over then fired again. 2. Thinly rolled translucent clay stamped and laid onto silver leaf and fired, charms treated with Chemtek added with wire through drilled holes. 3 Pendant, Stamped onto marbled clay, crackled leaf on black rolled and flattened clay attached to top, fired, then butterscotch ink rubbed over
Catherine Withrow (totally hooked)
pin 1: 'look closely', artstamp image on translucent clay: antiqued step bevel frame
pin 2 'ancient love', black and white photocopy transfer: textured and antiqued step bevel frame
Filigreed green pin: Helen Grove
A leaf shape is cut and a lot of small snakes created, this can be done either by hand (time consuming and a bit frustrating) or by means of a Kemper tool, called a clay-extruder.
Then the snakes are placed in a cirkular pattern et voilá. Just fill in any holes with either a small ball or maybe a flower and you're done.

The white square with copper:Helen Grove
Use preferably Premo with mica (the microscopic metallic flakes). When this kind of clay is processed through the pastamachine a gozillion times, the mica will align itself and all "turn" the same way. if the sheet is cut thinly and these stripes turned so the "darker" side is face up. There's a visible difference in colour even if it is the same clay. If passed through the pastamachine once again (and only once) it still shows as a striped pattern. This pin has been further embellished with copper powder.

Mokume Gane:Helen Grove
Some translucent clay is layered with silver/gold leaf. Then cut into 4 or 6 squares. These are then layered with translucent shades of any colour you'd like. I've used a rainbow mix. When all is put together you should have a block with 6-12 visible layers. Now press a finger, glassmarble or other balls of clay to the bottom of this to create an uneven surface. This accomplished, you can slize thin slices of the stack and thus create some very nice cirkular patterns. These are layered on any kind of sheet. And all is passed through the pastamachine, or just used as is.
Can be applied to a myriad of things. Here it's been applied to a center of regular sculpey non-colour, formed and cut in half, thus creating 2 pins in one.