Pamela Campbell
Pendant 1: Free form collage pendant composed of mokume gane slices, checkerboard and jelly roll canework, silver beads. Finished with African trade beads and silk cord.

Pendant 2: simple circle shape pendant composed of terra cotta polymer clay pounded with meat tenderizer, cut with child's cookie cutter and embellished with a mokume gane slice.  Finished with hammered gold plated beads, large glass trade bead and inkadinkado sparkly cord.

Pendant 3:
antique photo collage pendant composed of a photocopy of an antique tin type photo (tinted with colored pencils), dog tag chain, translucent periwinkle glitter against a hand shaped frame. Frame is a combination of slabs and mokume gane slices run through pasta machine at widest setting.  Finished with gold wire through the top tube bead and wrapped around thick leather cord. Believe it or not, this piece was accidentally burned - i left it in the oven too long.  the original colors were blues greens white and greys but I actually like the burned piece better!

Brenda Van Dzura
Pendant 1: Round pendant with mokume gane slices draped and pressed against gold clay. Finished with inkadinkado sparkly cord.

Pendant 2: Diamond pendant with mokume gane slices draped, rolled and pressed onto clay. Finished with inkadinkado sparkly cord.

Pendant 3: This one is really cool!  This is the top slice of a series of mokume gane slices (the top of the stack was pounded with the meat tenderizer before pulling the slices). Brenda preserved the open spaces created by those final few whacks, and I think this is my favorite of all the pieces we worked on together!  Finished with silk cord.

Most pieces were sanded with automotive sandpaper after baking and all pieces received a finish coat of Flecto Varathane Diamond Wood Finish (either gloss or semi-gloss).

Technique Information:  We created some small simple canes such as jelly roll, checkerboard, etc. but really went wild with the mokume game technique. (Besides, it's just plain fun to say "mokume gane" - try saying it out loud a couple times and you'll see what I mean!) I've given more detail on this technique below.

Mokume Gane - adapted from a form of jewelry-making, this technique produces some pretty unusual and unique pieces.  Condition clay using a pasta machine/roller, creating small slabs of varying thickness and shape.  Stack the slabs on top of each other (tip: when stacking, think about the order, arrangement and outlines of the colors and thickness as these factors will influence the finished slices.)  Lay the slabs one on top of each other and press firmly or roll with a brayer as you add each layer taking care not to compress the clay too much.  Impress the final stack with a variety of objects and use varying pressure and depths for your impressions.  Some of the items we used: meat tenderizer mallet, cap from a marker, small dowel end, small clay modelling tools, beads, screws, straws.  When you are finished impressing the clay, carefully press the stack in place so it will not move around too much as you make the "slices".  Use a scupley blade to "pull off" individual thin slices starting on the top surface.  Hold the blade almost parallel to the clay but tipped at a slight angle (the sharp, lower edge is towards your body and tilted ever so slightly downward toward the clay).  Once the blade "bites" into the clay a bit you can adjust the angle so the blade is in plane with your stack of clay.  Slowly pull the blade toward you, wiggling a bit to help keep the blade very close to the surface of the clay to insure that your resulting slice are as thin as possible (I know it may seem ghastly, but I imagine it's a bit like a pathologists slicing tissue samples!).  The various shape and depth of your impressions creates designs and even spaces within the resulting slices.  You never know what you'll get, and be sure to check both sides as the designs will be different. The slices can then be applied to thicker pieces of clay, wrapped around tubes of clay for beads, or arranged in a collage like fashion with scraps using other techniques. In some cases, we put the slices through the pasta machine one last time to create elaborately marbled slices. Warning: if you try this, a trip to the hardware store or grocery store may never be the same...You may become so preoccupied thinking about what kind of impression various things will make in the clay that you may very well forget why you went to the store in the first place (this happened to me - twice!)
We loved the book "Create a Polymer Clay Impression" by Sarajane Helm (Krause Publications, copyright 2001).  Loaded with techniques, tips, resource information, clear photos and instructions.  The author has a very relaxed and non-rarefied writing style that made me feel like "hey, I CAN do this!".
Catherine Withrow
Three Beauties:  photocopy  translucent transfer on texture sheet base with oriental coin - bake transfer piece separately and glue to base.  Rub-ons used to highlight black clay textured base

Camouflage pendant:  mokume gane cane applied to large bead.  Tip:  dip fingers in Vaseline and then smooth cane slices...helps fingers glide over slices to reduce cane distortion and smooth piece.  Sand and buff to high shine.

Ancient Moon:  Rubber stamped components.  Moon image from Rollagraph wheel inked and pressure applied to add texture.  Bead is leftover mokume gane scrap.  'Leather' pieces are rubberstamped sheets cut and colored.

Latest favorite links:

Gwen Gibson:
Maureen Regan:
Gerri Newfry
Color laser or toner photocopy with colored pencils.
Apply a layer of liquid sculpey to the image.  Place
the image/sculpey face down on a piece of glass.  Turn
the glass over and work out any bubbles which may have
formed between the glass and the image.  Bake at 300F
for 20 minutes.  Remove the image from the glass.
Remove the paper from the sculpey.  Apply white glue
to the paper side of the sculpey.  Drag a comb through
the glue to create wavy lines.  Allow the glue to dry,
then apply silver/aluminium leaf to the glued area.
Back the image with a layer of polymer clay.  Form a
polymer clay frame for the image.  Flatten two pea
sized balls of polymer clay and attach to either side
of the upper part of the framed image.  Use buna cord
to make an impression in the flattened peas.  Bake at
275 for 30 minutes.  Superglue buna cord into the
flattened pea area.
Gerri's site
Lorraine George
Foil Leaf Transfers
There are several versions of foil leaf transfers on clay, however, I prefer this version best:
Condition translucent day and roll through a pasta machine at 7.
Place the copy face-side down on the clay, burnish well (I find that the back of a plastic spoon works great), wet with Gin, and carefully rub the paper off the copy until the transfer is left.
Bake as directed and cool
Apply a thin coat of Liquid Sculpey to the transfer side and bake for an additional 15 minutes and cool
Cut to desired size/shape and apply leaf adhesive to transfer side and when tacky, apply foil leaf (silver or gold works best)
Apply thin coat of PVA to the leafed side
Lay transfer piece with glue side down onto another thicker, uncooked piece of clay, cover with wax paper and roll over the two pieces with a brayer adhering the transfer piece to the larger piece
Cut the larger piece into desired size/shape and bake as directed and cool
Using automotive quality sandpaper, wet sand using heavier grit first and stepping up to finest grit
If you prefer a glossier finish, can cover piece with a glossy sealer or Diamond Glaze.
Gillian Allen
These pendants were made using Gwen Gibson's video 'Faux Bronze Magic which was played many times over. She gives step by step instructions for creating different frames, using transfers and finally for applying the metallic patinas to create the look of antique finishes. Instead of the photocopying transfer technique I have been using T shirt transfers printed with my inkjet from scans from various sources-for the Japanese, Utamaro and the Vintage ladies sourced from the internet. These were pressed onto transparent clay which had been put through the pasta machine on its thinnest setting (use wax paper) then baked for 15mins at 230 in the oven. The paper pels off and the transfer is applied to a cracked silver leaf covered black clay whith a light coat of fabric glue to stick down. The top is given 3 wet n dry sandings to bring out the transparency. Charms from Fancifuls were used as moulds for decorating some of the frames which were laid on top of the clay and trimmed round. The others were stamped images into the clay
Tammie Moore
The pendants are very easy I just conditioned the clay and ran it thru the pasta machine at #5, cut a rectangle of clay, cut the eye pins to fit for the top loop and the 3 bottom loops, layed them on the class, folded in two.  Put a photo copy of a rubberstamp from zettoligy on the top, used a pin or rubberstamp to texture the sides.  Baked at recommended temp.  Then when it came out rubbed color on edges to frame.  Coated with diamond glaze.  Put accent beads and charms on eye pins.  Created a beaded necklace to put it on and wha la. 
Lisa Wollman-Bolick
Sunset Pendant-make a Skinner Blend of blue, fuchsia, red, orange and yellow. Make several thin snakes, one of each color, and run them through the pasta machine. Fold in half so that each color folds over itself and continue running through the machine until the blend looks right
for the project. The sun image was stamped with a stamp that was first dipped in gold Pearlex powder. Then the white "waves" were cut with pattern scissors, as was the blue-green "sea." Both were layered on the pendant. The shape was cut out and layered on a slab of silver and black clay and then baked. After baking, the piece was coated with acrylic floor wax and holes were drilled at the top for wire hangers (I prefer to drill holes with a rotary tool after baking-cleaner holes, less distortion of piece). The piece was then strung.

Shell Pendant-roll out a slab of background color. Put a shell or other object in the middle. Bend a piece of wire over the object and bend the ends of the wire flat so that they are flat on the background slab. Cut a hole out of a black slab large enough to fit around the object and large enough to cover the wire ends. Cut out the desired shape and add layered pieces and stamping as desired. Bake and sand lightly. Apply pigmented wax (this is Treasure Gold copper) on the piece and buff. The hole may be cut before baking or drilled after.

Leaf Pendant-follow instructions as for Shell Pendant, except layer Pearlex powders on the background slab and texture. This texture was created with a kitchen scrubbing pad. Use a piece of scrap clay for the shape in the middle and layer it with Pearlex powders. A bit of liquid Sculpey helps the center shape stay adhered to the background slab. Bake and string.
Some links to more things Polymer Clay
Play with Clay#1  pictures of our first swap and many links
Judith Skinner the famous Skinner blends
Sky lots of tips and techniques
Online tutorial links
Linda Goff decorative jewelry
The Polymer Clay Spot basics and FAQ
PhotoTransfer tip