Eggs are a symbol of life and fertility around the world.
Their rounded form is pleasing to the eye and to the touch.In making traditional
Hungarian Pysanki eggs are dyed with a wax resist process to form gorgeous
layers of color built up into tiny precise patterns and repeats. Some collectable
eggs are enameled, or layered with costly metals. Eggs can be simply colored
or lavishly encrusted with splendid and costly details, as in the Faberge
versions, which were made of precious gold, platinum, diamonds and other
gemstones for the delight of patrons including Tsars and Queens. Now eggs
can be decorated with polymer clay in these and other styles too numerous
to mention here--they really deserve a book all of their own! And, because
there is a hole all the way through, these are by definition very large
beads!
When emptied of their contents and allowed to dry, chicken, duck, or
goose eggshells form an "egg-cellent" base that can be covered
with polymer clay to form sturdy ornaments and decorative objects for Easter
or other holidays.
A thin base layer of clay is applied to the blown and dried eggs and
baked, then a decorative outer layer of clay is applied.
The base layer makes it easier to smooth the outer layer without cracking
the egg. I use the liquid clays for this purpose, and find that one or
two coats of the colored TLS (Translucent Liquid Sculpey) is sturdy enough
for work done with a delicate touch. If you used to pushing more firmly,
you may prefer using a very thin layer of clay wrapped around the egg and
baked, but this gives a much heavier finished product.
Available in clear, gold, silver and black, the colored
formulations are much thicker than the clear and one generous coat will
suffice. Two coats works better with the standard clear TLS or Kato Liquid
clays, and other additives can be used to tint this, such as acrylic paints
or Pearl-X Pigments. However, it is important to bake the eggshells with
the liquid clay applications the same day that you do them, as there is
a chemical interaction that happens otherwise--the thin layer will begin
to bubble up and separate. The higher the local humidity , the faster it
happens--what took 3 days of neglected egg-making in Denver to occur happened
overnight in Mississippi. Bake your eggs that day for best results! The
liquid gold and silver TLS can also be mixed together and thinned with
an equal amount of the clear to give a delicate flesh tone for making dolls-head
eggs.
The ones shown here all started as white eggs, but now have a shimmery
tanned look as well as greater strength. The baked TLS gives a"tooth"
or slightly roughened surface to the egg that allows the raw clay overlaid
to stick very nicely. It also makes a wonderful surface for drawing with
pen and ink. The eggs shown here are baked and awaiting more decoration---and
the safest place to keep them is in the original carton! I apply the liquid
clay with a dedicated brush; one used only for liquid clay. As it does
not dry, I don't clean the brush after use. Instead, I wipe off most of
the excess from the brush and put it in a small zip lock bag to keep it
clean of dryer lint and dust.
The eggs are easier to handle if I put them on a bamboo skewer prior
to applying the liquid clay, and I bake the eggs in a pan while suspended
on these by letting the ends of the skewers rest on the sides of the pans.
This is also the best way to handle them for many kinds of decoration.
Cookie cutters of all shapes and sizes can be used on sheets of clay
that are either impressed with textures or with slices of millefiori cane
work. My favorite source for these can be found online at http://www.cookie
cutter.com where there are many sets of cutters in an incredible array
of shapes and sizes.
Design elements placed on the TLS prepared eggs stick well and can be
filled in later with other clays, beads, glitter, wire, or other embellishments.
Gold Premo clay is used here to create a delicate filigree
design.
Make the filigree overlays by pressing conditioned gold clay lumps onto
rubber stamps or into molds or texture sheets. Be sure to powder the stamps
or molds before pressing the clay. The pressings will create designs that
protrude above the surface of the clay.
These pieces can be sliced free using a blade held parallel to the surface
of the clay. Slice the raised image away very carefully. Powder the blade
and carefully cut across the surface to shave the raised design from the
lump of clay.
Place the design on the work surface, then transfer it (this requires
much care) with a toothpick or knife tip to the egg surface.
Lay the first design in the center or one end and work with one portion
at a time to build up a pattern that covers the surface. Let the under
layer show through in places. Use care to touch the egg as little as possible
by holding the skewer instead of the egg. When you are satisfied with the
design, bake the egg on the skewer for 30 minutes following clay package
directions.
Note: If you wish to close the holes, before baking remove the egg from
the skewer and cover the holes with a tiny amount of clay (just enough
to patch the hole). Dried rice can be put in previous to closing the holes
if you want a noisemaker-egg. Bake the egg on a nest of polyester batting
or fiberfill. Make a hanger if desired from wire or ribbon.
Bend the wire in a loop such as are used at the top of glass Christmas
ornaments, and ease it into the egg. Or thread ribbon all the way through
and loop it back, then knot to hold. Add tassels or other embellishments
as desired.
