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Instructions, videos & downloads

Creative tips

If you are stuck for ideas, inspiration is at hand with our imaginative, easy to follow project sheets. Turn your creative ideas into reality with the FIMO range of craft products from STAEDTLER. With 'FIMO creative tips' you can search for your favourite creative tip based on material, theme and level of difficulty. Whether you're looking for trendy jewellery or great deco ideas for your home - the creative tip finder makes it incredibly easy to find your next FIMO project.

To view .pdf files you need Adobe's Reader, which you can download for free.

Please click "Creative tips app" for our mobile creative tip offer.

Step-by-step

Impressive originals – with hidden magic in gold

  1. With 'hidden magic' you can give your creations a distinctive grain-like look, similar to wood. That's why this technique is also known as mokume nendo – which is Japanese for wood grain (mokume) made of clay (nendo). With hidden magic and FIMO effect, you can create unique brooches, earrings, rings and necklaces to name but a few – every single piece an absolute original.

  2. Knead the FIMO and roll each colour out to a sheet using the clay machine on its thickest setting. You will need two sheets of metallic gold.

    Stack the sheets of FIMO in the following order to create a rectangular pile: Metallic gold, translucent, glitter gold, metallic gold, light flesh and stardust.

  3. Use the acrylic roller to roll over the stack until the rectangle has approximately doubled in size.

    Divide it in the middle and place the two halves on top of each other. Then use the acrylic roller to roll it out again until you're left with a sheet that is only approx. 3-4 mm thick.

  4. Turn the sheet over so that the gold-coloured side is facing upwards.

    Press the blunt (!) side of the star-shaped cutter into the FIMO. Do not use the sharp side as you only need an indent and do not want to actually cut the clay!

  5. Next, make a thin (3-4 mm) sausage out of metallic gold FIMO and place it on top of the outline of the star.

    Cut to length so that it is an exact fit.

  6. Turn the sheet of FIMO over again and place it back on the work surface. Use your fingers to carefully press around the contours of the star to recreate the shape.

    Pay particular attention to the tips of the stars, they should be clearly tapered to a point.

  7. Slice a thin layer off the top of the elevated star holding your sharp, flexible blade parallel to the surface. Make sure you don't cut too deeply. If you don't like the pattern, you can cut off another slice.
    You won't be able to cut off another slice though if you cut too deeply into the sheet the first time round.

    Tip:
    Unfinished items and left-over bits of material can be stored in a sealed plastic bag or airtight container, e.g. a plastic box or jar.

  8. Cut the star out using the round-shaped cutter. Ensure the cutter is large enough and allows you to leave about a 5 mm gap all around the star.

    Then roll over the star with the acrylic roller to make the surface even and smooth. If necessary, use your fingers to carefully bring the star back into shape.

  9. Roll out a thin sheet of stardust and place the star on top.

    Cut out again with the round-shaped cutter.

  10. Create a thin sausage of metallic gold and position it around the edge.
    The golden star is now ready to be hardened in the oven for around 30 minutes at 110°C. Repeat the process to make two smaller stars and circles for the earrings.
    Once hardened, you can carefully go over the surface with the sanding sponges to make it smoother.

    But don’t forget! Don't sand too much or you might spoil the pattern!
    To finish off, drill a hole in the star and stick an o-ring in. String the large star onto the choker necklace and add the two smaller ones to the creole earrings.

    You'd like to make some unique jewellery of your own?
    The complete 'Hidden Magic in Gold' creative tip can be found in the creative tip finder.

Blending table

FIMO soft blending table

Use the blending table to help create the colour you require.
E.g. by blending 3 parts yellow (-10) with 5 parts pink (-22) you get a warm red colour.

It's just as easy to make colours lighter or darker - all you have to do is to add black (-9) or white (-0).

FIMO soft standard blocks are segmented into 8 portions, making it very easy to blend the colours.
Please note that colours may vary due to printing process.

FIMO soft blending table as .pdf file

Creative tips app

FIMO app

With 'FIMO creative tips' you can search for your favourite creative tip based on material, theme and level of difficulty.

Whether you're looking for trendy jewellery or great deco ideas for your home - the creative tip finder makes it incredibly easy to find your next FIMO project.

The app at a glance:

  • Search function based on different materials, themes and levels of difficulty. Combinations are possible too.
  • Creative tips with illustrated step-by-step instructions and shopping list (requires an internet connection).
  • Favourites function: Collect your favourite creative tips in a favourites list.
  • Easy to send the creative tips by e-mail.
  • Print function (requires AirPrint).
  • Easy to share the creative tips on facebook and twitter.
  • Photo upload: Inspire your friends and show them a photo of your FIMO project.
  • The random creative tip function selects a new project for you when the device is shaken.
  • Regular updates with lots of new ideas.
  • Requires iOS 4.3 or later. Compatible with iPhone, iPod touch, and iPad.
  • Requires Android smartphone version 2.3.3 or later.
    Available on the App Store
    Available on the google play store


    News

    3rd FIMO Symposium

    3rd FIMO Symposium

    ...on the move!

    At last! It’s almost time for the 3rd FIMO symposium.

    Don’t miss this chance to join in with ‘FIMO inspirations on the move!’

    From 11.-13.09.2014, you have the opportunity to experience three clay-packed days in France together with the internationally renowned artists Seth Savarick, Carol Blackburn, Sylvie Peraud and Céline Charuau.

    In the fairytale Château Saint Just, near Paris, the third FIMO Symposium will be an unforgettable experience. In addition to interesting courses on new techniques in a noble ambience, this year’s symposium is again rounded off by a varied accompanying programme.

     

     The following course combinations are available:

    • Course 1: Seth Savarick, Céline Charuau  and Sylvie Peraud
      € 249.00, max. 40 participants. There will be a waiting list if more than 40 registrations are received.
    • Course 2: Carol Blackburn, Céline Charuau  and Sylvie Peraud
      € 249.00, max. 40 participants. There will be a waiting list if more than 40 registrations are received.

    The following course combinations are available

    Seth Savarick

    Full-day workshop: Improvisational Screen Printing 

    Screen printing is a creative and versatile technique that can be used to apply complex and precise surface designs on polymer clay. We will explore improvisational and unstructured screen printing techniques as we develop rich complex layered surfaces on raw polymer clay.  Then use your printed sheets in the creation of choker pendant necklace. You will also make and leave with a set of screen stencils that you can use again and again.

    FULLY BOOKED!

    Carol Blackburn

    Full-day workshop: Shell earrings with matching necklace

    The technique includes basic polymer clay methods of preparing clay and colour blends.  Successful results depend on developing very accurate cutting and assembling of baked clay pieces in a precise order.  I will demonstrate each step and ensure that everyone knows how to complete their earrings with simple jewellery wire work techniques.  Although I will show how to extend the earring design to make a matching necklace.

    Céline Charuau

    Half-day workshop: Organic Forms 3D

    A work of organic forms - Sea slug

    This workshop will enable your creations to acquire a new dimension: that of 3D. You will also learn to give volume, energy and life to your creations, while you have fun with colour and form.

    Sylvie Peraud

    Half-day workshop: Faux Denim

    Playing with clay, texture and paint the students will learn how to make faux denim. They will cut out their own letter and add it to the pendant, add stitches, buttons  and  any decoration they want. Then they will cover the back and will be shown how to add a buna cord bail in the back.

     

    Agenda

    DayAgenda
    Thursday: Individual arrival
    Opening event in the evening
    Friday:Course programme
    Gala - Dinner in the evening, a glittering celebration (a festive wardrobe is requested)
    Saturday:Course programme
    Closing ceremony and presentation of certificates
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    Download the full agenda here. (.pdf, 0.3 MB)

    The price of 249,- € per person includes

    • Food and drinks on the course days
    • Gala - Dinner
    • FIMO material

    NOT included in the price are:

    • Travel costs
    • Accommodation
    • Other non-STAEDTLER course material

    In the neighboring castle hotel we have reserved a number of rooms there for booking by 31.05.2014. We would be happy to help you with your reservation:

    Château Saint Just
    17 Rue Nationale Belle Eglise 
    60540 Belle Eglise
    France
    Phone: +33 (0) 344 471 717
    E-mail: enquiries(at)principal-hayley.com
    http://www.chateausaintjust.com

    DayPrice for a single room per night incl. breakfast: Price for a double room per night incl. breakfast:
    10.09.2014150,- €170,- €
    11.09.2014150,- €170,- €
    12.09.201490,- €110,- €
    13.09.201490,- €110,- €
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    Participants are responsible for making and paying for their own travel arrangements. 

    We kindly ask you to bring the supplementary material required for your respective course along with you to the event.


    FIMO Symposium 2013: Modelling in the city of diamonds

    STAEDTLER FIMO Symposium

    Jewellery, deco items, works of art: People all over the world get creative with FIMO. From 12th to 15th September, almost 80 participants from 19 different nations met up in Antwerp for STAEDTLER's 2nd FIMO Symposium. Including the famous artists Lisa Pavelka, Saskia Veltenaar, Christine Dumont and Kathleen Dustin.

    Different countries, different techniques: The 2nd FIMO Symposium turned Antwerp, the city of diamonds, into a meeting place for the international polymer clay scene. From India, the USA, Japan as well as 16 other nations from around the world, participants travelled to Antwerp for the three-day event with hands-on workshops on the city's famous 'Badboot'.

    Artists teach artists – from embroidery with modelling clay to the translucent layering technique

    Four different workshops and a varied accompanying programme gave participants the opportunity to exchange thoughts and ideas on current trends and the latest modelling techniques. The event got off to glamorous start: All those present drank to the Symposium with a diamond cocktail, a glass of bubbly with a sparkly stone in it. Four of the guests were even lucky enough to find a real diamond at the bottom of their glass. The workshops began on Friday morning at 9 am sharp.

    How to make millefiori patterns, different surface structures and perfect transitions of colour with FIMO is what those attending the workshop held by jewellery artist Lisa Pavelka from Las Vegas were able to learn. This multiple award-winning artist, designer and author has been working professionally with polymer clay since 1989 and has shown the world that there's virtually nothing the oven-hardening modelling clay can't be used for – from developing new techniques to decorating the back of vans.

    Transparent layers of FMO, permanent ink, leaf gold and powder were used by the American Kathleen Dustin to demonstrate the sophisticated translucent layering technique on brooches and pendants. She was the one to invent this method which is used to add more visual depth to polymer clay. Kathleen has a Master in Fine Arts and is considered to be a pioneer in working with polymer clay which she herself has been using for 26 years now.

    The Belgian artist Christine Dumont used her sculpturally designed funnel-shaped beads to show that 3D is not just something for the world of film. Her course was targeted at artists who wanted to try their hand at sculpture. She has been using FIMO for many years now and is also founder of Voila!, an internationally renowned web-based community with more than 2000 like-minded artists the world over.

    Also on the programme: Embroidery with the multi-purpose modelling clay. Needlework is once again very much in vogue. Participants of Saskia Veltenaar's workshop were shown a new approach to embroidery and taught how to use thread made out FIMO to embroider a box for clay tools. Not only is this exuberant Dutch lady an artist in her own right, since 2010 she has also been working together with Marjon Donker, publisher and co-editor-in-chief of the new and successful polymer clay magazine 'From Polymer to Art'.

    On Friday evening, at the end of the first clay day, participants were taken back to their hotel to get ready for the evening event – a gala dinner cruise with an outstanding three-course menu. Mellow jazz music accompanied them on their leisurely trip along Antwerp's waterways.

    On Saturday morning, all participants were back to the Badboot on time again, full of enthusiasm for the second day of the Symposium. To ensure that no-one went home empty-handed at the end, everyone was given a certificate of participation, goody bag and group photo.

    Seasonal creativity

    Inspirations on a gentle evening breeze

    Candlelight dinner with FIMOair

    The sweet song of a nightingale. A starry sky. And a warm breeze carrying the unique fragrance of summer, whispering wonderful ideas in our ear: Deep red sunsets. The magical twinkle of countless galaxies above. The light of a flickering candle which never fails to attract the eye.

    How about decorating your dinner table with some stars of your own? Take pleasure in the fiery dance between light and shadow performed by the candle flames as they flicker to the melody of the evening wind. In creative lanterns, perfect for bathing any romantic evening on the terrace in a lovely warm glow: FIMOair light is the perfect material for adding expression to your summer feelings.

    Step-by-step instructions

    Get inspired: Follow the FIMOair light instructions and create pretty decorations for your balcony or terrace tailored to your own personal taste. Then leave them to dry overnight in the warm summer air and, the very next evening, you can take pleasure in your creations!

    This creative tip and many more besides can be found in our creative tip finder

    See 'Newsroom' for dates and further details.

    Trends

    Current trends – the look for 2014

    Trend colours 2014

    When it comes to designing and creating jewellery, accessories or deco items, current trends are often a great source of inspiration. FIMO is incredibly flexible and enables you to integrate your preferred trend colours, shapes and motifs into your work.  As far as colour is concerned, 2014 is a bold year: Purple, bright blue, orange and coral are all the rage. Other ones to enjoy great popularity at the moment are effect colours like gold and silver as well as nude and pastel tones. As regards shapes and patterns, the focus is on stripes and dots, though floral designs are in vogue this year too. As to deco items, things have more or less remained the same: Vintage, shabby chic and owl motifs are still very much 'in' in 2014.

    You will certainly find the right hue for each season among the extensive FIMO colour assortment. And should a colour be missing from the range, you can mix it yourself – with the help of our FIMO colour blending table.

    Handwriting: Trend theme 2014

    What is new is the trend theme 'handwriting': A person's handwriting is a warm expression of their personality – not only on greeting cards and invitations. Whether for nice-looking labels on hand-made deco boxes, clay pots in the kitchen or drawers, handwriting gives small accessories or everyday items an elegant and personal touch.

    You can find out more about different handwriting styles and what a person's handwriting reveals about them in our 'beautiful writing' section.

    You'd like to incorporate current trends in your ideas?
    You're sure to find inspiration in our 'Lace Lanterns' creative tip.

    Brochures & Catalogues

    Simply shape your ideas. FIMO and FIMOair, oven-hardening and air-drying modelling clay.

    Click the pictures to download our brochures as .pdf files.

    To view .pdf files you need Adobe's Reader, which you can download for free.

    FIMO brochure (.pdf, approx. 8.7 MB)
    FIMOair light brochure (.pdf, approx. 2.6 MB)
    Hobby & Creative catalogue (.pdf, approx. 13 MB)


    FIMO in action

    Why I use FIMO

    Infinite creative freedom

    There are only few materials which offer as wide a variety for creative expression as FIMO does. For one, working with FIMO is easy to learn – first results are quickly achieved almost in no time.

    And you can create almost anything: jewellery or accessories, picture frames or decorations, dolls and figures, flowers and sculptures – everything is possible. The vast range of FIMO colours and the unique texture make it possible to imitate other materials in a remarkably convincing way, for example wood, stone, glass and many others. Incidentally, it teaches you techniques which were originally based on processing entirely different materials.

    Tools? You can actually start with hardly any special tools. Beginners in particular can already fabricate the most beautiful creations using only the Starter Kit. And if you later want to create more delicate and more professional pieces, you simply venture to tackle the various tools.

    If you have questions, please take a look at our FIMO FAQ section or contact our customer service at service(at)staedtler.de

    New FIMO products

    Gemstone colours with fascinating double effect

    The new gemstone colours of the FIMO effect assortment lets self-modelled jewellery or home accessories become special eye catchers.

    With subsequent polishing, the transparent depth and pearlescent effect let the modelled works of art appear like high-gloss rose quartz, precious jade, fascinating ruby, clear citrine or shimmering blue agate.

    The gemstone colours inspire to try out new technologies and variants, and impress with striking results. Give it a try and design your own bracelet. Our creative tip explains how it’s done step by step.

    Tip: FIMO DVD Workshop

    The new FIMO DVD provides the perfect introduction to the art of modelling.
    The 12 exclusive step-by-step videos are divided into three levels of difficulty, offering something for everyone – from beginners to experts.

    With tips and tricks, detailed explanations as well as templates and printable shopping lists, the new FIMO DVD is an all-inclusive package.

    FIMO - the story of success

    STAEDTLER® FIMO® - History

    It all begins in 1939.

    Käthe Kruse

    In her search for a new material to use for her dolls’ heads, the well-known doll maker Kaethe Kruse begins experimenting with a new substance.
    As the material turns out to be unsuitable for serial production, her daughter Sophie does some experimenting of her own with it, mixing pastes and colours into it and then kneading it into a whole variety of shapes and objects.

    She uses the material to create vases, mosaics, pictures, miniatures, figures and toys.

    Sophie Rehbinder-Kruse sums up her philosophy as follows: ‘‘Mankind instinctively wants to model things; it is his way of cherishing and preserving something dear to him”. As a result, she goes on to develop her first modelling clay kit in 1954.

    FIMOIK

    She creates the brand name FIMOIK by using the first two letters of her nickname ‘Fifi’, the ‘Mo’ from modelling clay and the final letters of ‘mosaic’, one of her favourite techniques.

    Thanks to the family’s excellent connections to the toy trade, ‘Kaethe Kruses Ofenknete’ (oven-baked clay) is well received by the market.

    In 1964, Eberhard Faber acquires all of the rights. In 1978, this company, established in 1922 in Neumarkt, becomes part of STAEDTLER Group.
    In 1966, equipped with a new concept, improved recipe and better sounding name, ‘FIMO’ is successfully launched onto the market in a range of 15 colours, two different sizes of block and variety of gift sets.

    A FIMO handbook jam-packed with suggestions and instructions and a number of different brochures inspire users to try their hand at a whole array of new creative ideas.

    The range continues to grow. Over the years, new colours, including some with special glitter, stone and transparent effects are added to it.
    Craft sets complete with accessories on a selection of creative themes are also introduced.

    Today, the range comprises 72 different colours and is rounded off by a wide assortment of accessories such as ‘FIMO liquid’, varnishes, metallic powders, leaf metal, push moulds and metal jewellery bases.

    Sophisticated FIMO techniques such as ‘millefiori’, ‘mokume gane’, ‘kaleidoscope’ and ‘Skinner blend’ have developed.
    Gemstone imitations, silk-screen, patina, ink and impression effects etc. all make FIMO an extremely versatile material: For imaginative modelling by children and more complex applications in the field of art and jewellery design.


    Arts & Design

    Instructions

    „Siesta“

    Mixing technique with soft pastel on cardboard – by Corinne Korda

    The lemur startled out of its siesta was painted with soft pastel chalks over a rough sketch made of diluted opaque paint ...

    “Siesta” – Individual steps

    ... The pastel colours were repeatedly painted over – a “smooth wash” – in various stages of development using a brush dipped in water.

    The white fur sections are emphasized with opaque colours.

    Water colour “Canale”

    Colourful Facades in the Channels of Venice, painted with our karat aquarell watercolour pencils.

    Water colour “Canale” – Individual steps

    You can download the complete creative tip "Watercolour "Canal" - brightly coloured facades along the canals of Venice" as a .pdf (1 MB) here.

    Water colour "Impressions“ - Individual steps

    Sketching boats, reflections and light reflexes is actually quite exciting. And takes hardly no time at all: You are welcome to view and download our creative tip "Impressions" (.pdf, 1 MB).

    Tips

    Tips for watercolour painting

    Tips for watercolour painting

    As a rule, when watercolouring, you begin with the subtle, light-coloured shades and gradually work towards the darker ones.

    The painting surface itself is part of the composition, shimmering through in some places or, in other places, left in its original white state as a highlight. Watercolour pencils can be used with water to create a very thin or partial wash so that characteristic hatching lines remain visible. Colours are often added to a pre-moistened surface or still damp wash so that they run into each other and merge, thereby creating the textures and blends so characteristic of this kind of painting.

    The subtlety and delicacy of this painting technique is emphasised still more when parts of the picture are left incomplete, with some of the content merely hinted at, leaving scope for interpretation.

    Tips for watercolour painting

    Useful accessories for watercolour pencils:

    A quality sharpener with a sharp blade (e.g. STAEDTLER art. no. 512 002), high-quality brushes in the sizes 8, 15 and 20 make a good basic set, two glasses of water (change frequently), paper stomps or, alternatively, cotton buds, tissue paper or tracing paper to protect the finished picture, kneadable eraser for the removal or lightening of watercolour pencil marks (STAEDTLER art. no. 5427).

    Painting surface:

    Only highly absorbent kinds of paper are suitable for painting with water-colour pencils. As paper can ripple when brought into contact with water, paper of at least 250g/m2 should be used. There are many different kinds of real hand-made paper, from papyrus, Japanese paper and wood-free types (particularly white) right up to embossed card e.g. linen structure. The characteristics of the paper chosen will have a strong influence on the final painting, especially in the case of very subtle watercolours.

    Mixed techniques:

    Watercolour pencils are ideal for all kinds of mixed techniques. For centuries now, pen, ink, pencil and charcoal drawings have been watercoloured and used as sketches for oil painting. The combination of watercolours with soft pastel chalks and oil pastels creates contrasting effects and allows for hatching, superimposed highlights and accents.

    Tips for oil pastel painting

    Tips for oil pastel painting

    Oil pastels are particularly versatile and possess great expressive power. They contain oil and wax as binding agents. As a result, they do not cause dust and they adhere very well even to smooth paper. Their vibrant colours are reminis- cent of oil paints. They have superb coverage characteristics and best effects are achieved when the colours are applied thickly. Any surplus colour should be removed every now and again with a cotton cloth or piece of kitchen towel.

    In addition to this, attractive, smooth transitions of colour can be created by smudging. Oil pastels are not really suitable for detailed work. However, the crayons can be sharpened a little (it is recommended to place them in the fridge for a while beforehand).Another alternative is to take the desired colour and apply it to a piece of e.g. card, partially dissolve it using a brush dipped in solvent and then paint any details on using the brush.

    Highlights and shadows are emphasise as a last step using black and white crayons.In this example, impressive effects have been created by a clear, linear structure, leaf metal and relief elements in gold.

    Tips for oil pastel painting

    Painting surface:

    Oil pastels are a versatile medium which adhere to a whole variety of surfaces such as paper, cardboard, canvas, wood, stone and even smooth surfaces like glass and plastic.

    Storage:

    Oil pastel paintings are not particularly sensitive but it is, nevertheless, recommended to protect artwork with a transparent cover sheet or to frame it under glass straight away.

    Useful accessories:

    The only tools really required are fingers, though for certain techniques the following can be helpful: Turpentine substitute, alcohol or linseed oil, scratching tool, e.g. a small knife, fork or nail file, wet wipes for cleaning hands, a small brush for detail work, cotton buds, an old piece of cloth and kitchen towel for smudging, brush for dissolving, sharpener or knife for sharpening.

    Tips for soft pastel chalk painting

    Tips for soft pastel chalk painting

    The term is derived from the Italian word 'pasta' (= paste). Pastels are made up of pigments, binding agents - e.g. tragacanth gum - and sometimes fillers like chalk and talc which make the pastel chalks smooth and soft.Soft pastel chalks are also ideal for all kinds of mixed techniques.

    They can be applied on top of gouache, watercolour, not too thickly applied acrylic and even oil paints and can be used in combination with, e.g., charcoal and ink too. They can also be washed with a moist brush, similar to watercolouring.

    Tips for soft pastel chalk painting

    Painting surface:

    Rough paper is most suitable for use with soft pastel chalks. There are many different special pastel papers available, e.g. Ingres, velour paper, Sansfix, pastel card etc. Pastel chalk looks particularly impressive when used on coloured paper, as the surface can then actually be incorporated in the picture.

    Storage and framing:

    When the work is completed, it is essential that it is fixed. A sheet of tissue or tracing paper may also be used to protect the finished picture. Even pastel artwork that has been properly fixed remains sensitive and, ideally, should be mounted and framed under glass straight away. Anyone not wishing to have a mount should nevertheless make sure that there is a spacer between the glass and the picture in order to avoid condensation stains.

    Useful accessories for soft pastel chalks:

    Fixative (available e.g. as a spray), paper stomps or, alternatively, cotton buds, wet wipes for cleaning hands and tools every now and then while working, kneadable eraser for the removal or lightening of colours (STAEDTLER art. no. 5427), rice - dirty soft pastel chalks can be cleaned quickly by placing them in a plastic tub with grains of rice -, a cover for the floor underneath the workplace as soft pastel chalks always create dust, protective clothing for the same reason.

    Basic techniques

    Watercolour pencils - Dry techniques

    Hatching: Draw a series thin lines closely together: For special light and shadow effects.

    Overlaying: Blend by overlaying individual colours.

    Watercolour pencils - Wet techniques

    Watercolouring/glazing: Wash colours with a brush - the more the colour is diluted, the lighter it be- comes and the surface shows through.

    Dry-on-wet: Use dry lead on moist paper - strokes remain visible but become richer and slightly creamy.

    Watercolour pencils -Special techniques

    Scraping or shaving technique: Use a knife to carefully remove the wood casing and then rub the exposed coloured lead against coarse-grained sandpaper. When scattered over a very wet wash, the particles create attractive effects and structures.

    Smudging and blotting: Create gentle pastel shades and overlays of colour by smudging or blotting with a dry or moist cloth.

    Sgraffito effect: Add structures to thick, wet paint by smearing with a cotton bud or cloth.

    Oil pastels - Dissolving

    Oil pastels can either be partially dissolved and painted with directly on the painting surface itself using turpentine substitute or oil or can be prepared on a palette first. This technique enables the painting of fine details with a brush.

    Tip: When working with turpentine substitute you should air the room regularly even if there is not a noticeable odour.

    Oil pastels - Hatching technique

    Hatching can have different effects depending on whether the lines are made in one direction or in a criss-cross pattern. This technique adds rhythm to a picture.

    Oil pastels - Sgraffito technique

    This is the painting term for all techniques involving a picture or parts of a picture being scratched. The motif is created by scraping off the top layer of two overlaid colours.

    Oil pastels - Overlaying

    Blended tones are achieved by overlaying different colours.

    Soft pastels - Smudging technique

    Draw a motif and then smudge using your hand, a paper stomp or cloth.

    Soft pastels - Overlaying

    Blend by overlaying individual colours from light to dark.

    Soft pastels - Highlighting

    1. Remove an already applied colour using e.g. a cotton bud or kneadable eraser.
    2. Then, after fixing, add a new layer of highlights and fix again.

    Soft pastels - Bar technique

    Use the broad side of the chalk to cover a large area.

    Arts & design products

    karat® watercolour pencils

    For wet and dry techniques

    • Ideal for both beginners and professionals
    • For sketches and studies on-the-go or more detailed work back home

    Watercolour painting is today one of the most popular painting techniques. The karat watercolour pencils can be used for a variety of techniques and mixed techniques for a perfect synthesis of shape and colour - whether as subtle transparent effects, chance transitions of shade or deliberately set accents. This is where the main attraction of watercolouring lies.

    karat® oil pastels

    For the coverage of large areas in exceptional colour intensity

    • Adhere to all smooth surfaces
    • Extremely vibrant colours
    • Waterproof

    With oil pastels, it is a different matter altogether: Their smooth performance, rich colour-intensive results and exceptional vibrancy make karat oil pastels a medium suitable for a whole variety of applications. Characteristics which are both liked and valued by young children, teenagers and adults alike. For kindergarten or school, hobby or professional use.

     

    karat® soft pastel chalks

    For exact details and delicate shading

    • Ideal for working on matt surfaces
    • Excellent blending qualities

    The karat soft pastel chalks are extremely impressive thanks to their superb colour brilliancy and easy handling. Their excellent blending qualities make it no trouble at all to create subtle transitions of shade or to produce bold outlines sharply contrasting to gently hued areas. Soft pastel chalks look particular effective when used on coloured paper. The use of a fixative spray is important in order to ensure a long-term protection of artwork.

     


    FAQ & tips on using FIMO

    Handling

    Opened FIMO

    Work in progress and leftovers can be kept in a sealed plastic bag or an airtight container such as a plastic container or a glass.

    The oven-hardening modelling clay FIMO is a PVC-based compound.
    In comparison to “normal” modelling material, FIMO is much stronger – this structure allows the modelling of small and delicate objects, for example.

    The FIMO compound is made of plastic powder, plasticisers and additives.
    While baking in the oven, the plasticiser makes the plastic powder gel; once cooled off, it forms a solid matter.

    FIMO can be baked several times, for example to plug up cracks or replace broken parts with FIMO.
    FIMO is best hardened in the oven for 30 minutes at a ideal temperature of 110° C.
     
    Pieces hardened at 130° C will look pretty much the same, except for the fact that they are a little more flexible.
    However, this maximum temperature of 130° C and hardening time of 30 minutes should not be exceeded!

    FIMO does not have a date of expiry. FIMO should, however, be stored dry and cool. Unhardened FIMO is best kept in aluminium foil, in a metal or plastic box (made of PP or PE!), to protect it from dust and contamination.
     
    FIMO will thus last at least two years.
    However, we don’t know how long and under what circumstances the FIMO had been stored in the shop before you purchased it.
     
    In order to make older or hardened FIMA soft again, we recommend using FIMO Mix Quick, article no. 8026. The kneading aid for mixing makes softening firmer FIMO quick and easy. This, however, will work only if the compound hasn’t thoroughly hardened yet.

    Once completely hardened, the oven-hardening compound is weatherproof but should not be varnished!
     
    It is important that the hardened model has no cracks through which rain could penetrate. Otherwise the model could burst in freezing temperatures.

    The colours might fade a little over time when exposed to intense sunlight; a protection of some kind is therefore recommended, a canopy for example.

    The gelling process (PVC in plasticiser) cannot be completed at temperatures of less than 110° C. FIMO will harden, but is still brittle inside and therefore fragile. If you harden FIMO at temperatures above 110° C, it will become more flexible.
     
    However, you then accept that the colours become more brownish and are possibly about to burn. We do not recommend doing this!
     
    The ideal hardening temperature is 110° C for 30 minutes.

    We recommend our oven-hardening modelling clay for snow globes as well.
     
    Here, the hardened model will be placed in water permanently.
    However, FIMO should not be varnished.

    All these variants can easily be combined and mixed with each other.

    Der Geliervorgang (PVC in Weichmacher) kann bei weniger als 110°C nicht bis zu Ende geführt werden. FIMO wird dann zwar hart, ist aber im Inneren noch mürbe und daher bruchanfällig. Wenn man FIMO höher als bei 110°C härtet, wird es eher flexibel.

    Man nimmt damit aber in Kauf, dass die Farben bräunlich werden und evtl. kurz vor dem Verbrennen sind. Wir empfehlen das auf keinen Fall!

    Die ideale Härtetemperatur beträgt 110°C bei einer Härtezeit von 30 Minuten.

    Zum Kleben von abgebrochenen FIMO-Teilen empfehlen wir „Pattex Multi Alleskleber“ von Henkel.
    Dieser ist von uns getestet worden, er kann auch im Backofen mitgehärtet werden. Der Kleber trocknet transparent auf und verfärbt sich auch nicht durch Hitzeeinwirkung.

    Zum Kleben von FIMO Schneekugeln (Verbindung der Haube mit dem Unterteil) empfiehlt sich der Modellbaukleber von Pattex.

    Ingredients

    Does FIMO contain softening agents such as phthalates?

    Phthalate-based plasticisers have fallen into disrepute.
    These are suspected of being carcinogenic or mutagenic.

    For reasons of preventive consumer protection, STAEDTLER has stopped using plasticiser containing phthalate in FIMO already in 2006.

    Our oven-hardening modelling clay FIMO does not contain any harmful, allergenic or poisonous substances. FIMO meets the requirements of the EU Directive on the Safety of Toys (EN71, Part 5).

    We commissioned the ‘Forschungsinstitut für Leder und Kunststoffbahnen gGmbH’ (Research Institute of Leather and Plastic Sheeting) to examine emissions at 130° C and 150° C – in other words, at temperatures higher than stated by our instructions (110° C). At both 130° C and 150° C, neither carcinogenic or mutagenic substances were detected, nor any with reproductively toxic properties. Nevertheless, a maximum temperature 130° C should not be exceeded. We recommend using an oven thermometer.

    In unfavourable conditions, hydrochloric acid fumes can develop at temperatures above 150°C. However, these have a very strong warning effect (burning sensation in the eyes and stinging in the nasal mucosa) before they cause any toxic reactions. In any case, thoroughly ventilate the room, bring any person outdoors and consult a physician if taken ill (this is a “standard” procedure for any kind of danger and therefore does not apply only to FIMO). 

    Our oven-hardening modelling clay FIMO does not contain any harmful, allergenic or poisonous substances. FIMO meets the requirements of the EU Directive on the Safety of Toys (EN71, Part 5).
     
    Moreover, hardened FIMO is resistant to sweat and saliva in accordance with DIN 53160 (LGA Test 5561011) You should avoid direct contact between FIMO and mouth or food though – FIMO is not food safe.
     
    Ensuring this would require special testing and approvals, which have not been carried out for FIMO. This also applies to animals; we therefore do not recommend using FIMO in aquariums, terrariums or for making animal feeding bowls.
     
    Incidentally, FIMO does not contain any animal components and is gluten-free.

    Is FIMO not longer made of PVC?
    The notice “with natural-based substances” has been printed on the packs of our over-hardening modelling clay since July 2011.
     
    This notice is not the result of a modified formulation.

    We rather want to point out that we use raw materials in the production of FIMO which are based on natural fats and oils.

    Der Geliervorgang (PVC in Weichmacher) kann bei weniger als 110°C nicht bis zu Ende geführt werden. FIMO wird dann zwar hart, ist aber im Inneren noch mürbe und daher bruchanfällig. Wenn man FIMO höher als bei 110°C härtet, wird es eher flexibel.

    Man nimmt damit aber in Kauf, dass die Farben bräunlich werden und evtl. kurz vor dem Verbrennen sind. Wir empfehlen das auf keinen Fall!

    Die ideale Härtetemperatur beträgt 110°C bei einer Härtezeit von 30 Minuten.

    Zum Kleben von abgebrochenen FIMO-Teilen empfehlen wir „Pattex Multi Alleskleber“ von Henkel.
    Dieser ist von uns getestet worden, er kann auch im Backofen mitgehärtet werden. Der Kleber trocknet transparent auf und verfärbt sich auch nicht durch Hitzeeinwirkung.

    Zum Kleben von FIMO Schneekugeln (Verbindung der Haube mit dem Unterteil) empfiehlt sich der Modellbaukleber von Pattex.

    Accessories

    What glue is best used for FIMO?

    We recommend “Pattex Multi Alleskleber” (all-purpose glue) by Henkel to glue on FIMO parts which have broken off.
    We have tested this glue and it too can be hardened in the oven. The glue dries to a transparent state and does not discolour, not even under the influence of heat.

    We recommend using the model-making glue by Pattex for the FIMO snow globes (for glueing the cover to the lower part).

    Tips

    Can I wash buttons made of FIMO?

    FIMO buttons should not be machine-washed or dry-cleaned because the colours can fade over the course of time depending on the detergent and chemical cleaning agents, respectively.
     
    In general, the buttons should not be varnished because our varnish is water-based. We recommend washing the garment along with the FIMO buttons by hand (30° C) and preferably using a soft detergent.