(1) Use the Non-Stick Craft Sheet to cover and protect your work surface.

(2) Condition the translucent clay for the photo transfer by slicing the clay into 1/8” thick slices with the Nu Blade and running it through the pasta machine on the widest setting, about 20 times. Fold the clay each time and run it through fold first to prevent air bubbles.

(3) Wear protective gloves if desired to tint ¼ of the translucent clay with Archival Ink in Sepia. Roll out a sheet of clay on the largest setting on the pasta machine. Add a drop of ink to the center, and spread it out on the sheet. Fold the sheet with the ink on the inside. Run it through the pasta machine until the ink is fully incorporated. Repeat until desired depth of color is achieved. Set this aside for the photo transfer in the next step.

(4) Trim each 3” photocopy image, leaving an additional ¼” border around the image. Roll out a sheet of the Sepia tinted translucent clay on the 3rd largest setting on the pasta machine. Place this sheet on a tile. Place the copy face down on the clay and rub with your finger or the back of a spoon to smooth down and expel any air bubbles trapped underneath. Trim the clay leaving an additional ¼” border. Repeat with other copies to insure at least one useable transfer. Bake at 270° for 10 – 15 minutes. When the clay is cool enough to handle gently peel the paper from the clay. Let it cool completely. If desired tint photos using a cotton swab to apply alcohol inks.

(5) Prepare the box (keep in mind that the box lid will actually become the side of the box). First, cut out a circle from the box lid that is 2 ¾” for the photo to show through. Next mark and cut a ¾” hole in the center of the bottom of the box (this will become the back of the lamp) and set aside while you create the box covering.

(6) Roll out a slab of translucent clay (enough to cover the lid of the box) and tint with Alcohol Ink in Lettuce with a drop of Espresso. The Alcohol Ink MUST DRY on the clay slab before you mix it in. Use the same method for tinting as with the Archival Ink (step 3).

(7) Add Antiquities Embossing Powder in Rust to the clay by sprinkling about a ½ teaspoon onto the center of the slab clay then proceeding to fold the clay with the powder inside. Run the clay through, alternately fold first and fold to side. This will help to evenly distribute the embossing powder. Add additional powder if desired.

(8) When a satisfying color is achieved, roll out the clay on a medium setting. Cover the lid of the box, cut away the clay from the 2 ¾” hole and trim the excess clay from the box edges. Gently smooth seams with your finger.

(9) Mix small portions of translucent clay with various alcohol inks and embossing powders to achieve different looks for your “river stones”. Only partially mix some of the Alcohol Ink in Espresso into the clay to give a marbled look to some of the stones.

(10) Shape and gently press your “stones” into the clay covered lid, varying the size, shape and color placement. Form smaller “stones” and place them around the hole in the lid to obscure the rim. Set aside. 

(11) Now to decorate the bottom of the box. Twist, flatten and fold your wood-colored scrap clay. Run through the pasta machine then stack scrap clay into variegated rectangular cane whose end is about 1 ¾” long by ½” wide. Apply slices of this cane to the side of the box (approximately 1 ¼” from the rim of the box) making sure the lid will fit on the box yet not leave a gap between the clay covering the lid and the bottom of the box. After covering all sides marble the remainder of the wood-colored clay and roll out a slab and cover the bottom of the box(that will become the back)cutting a hole in the clay to match the hole in the box bottom for the lamp.

(12) Bake box bottom and lid according to manufacturers’ directions. Let cool.