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.
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.
Impressive originals – with hidden magic in gold
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.
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.
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.
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.
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.
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.
6. FIMO Symposium
Don’t miss the chance to join the 6th FIMO Symposium from 13.9.-16.09.2017 in Monza in Bella Italia!
What a delight! With this DIY candy bar idea you can add a truly personal touch to your special day!
Sweet drops, cake pops and artistically trimmed cupcakes: Wedding candy bars are more popular than ever. For your wedding day, you naturally want everything to be simply perfect and colour coordinated. Whether light pink, pink, vanilla or ice-blue - this sweet-looking Mr & Mrs mini bunting is sure to draw attention to your candy bar. What's more, matching flags are great for adding a final touch to cupcakes & co. It's enchanting details like these that make decorations so effective and keep guests raving long after the event itself.
DIY is very much IN – not only does it make you stand out from the crowd, it gives you the freedom to design totally unique deco according to your own individual taste. What's more, it's kind on your purse too. You don't need much to make pretty candy bar ornaments: Just take a little bit of FIMO, get started and, in no time at all, you're left with perfect decorations for a wonderful wedding day!
Click here for the DIY instructions.
Have fun crafting!
Why I use FIMO
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.
FIMO - the story of success
Since then, FIMO has become world famous and the original oven-hardening modelling clay. The traditional brand stands for unlimited modelling fun and writes history. Invented, developed and manufactured in Germany, FIMO has triumphed throughout the globe and has been loved and prized for 50 years.
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).
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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
- Remove an already applied colour using e.g. a cotton bud or kneadable eraser.
- 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
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.
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.
How does FIMO work?
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.
Can I bake already hardened parts several times?
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!
Does FIMO have a use-by date?
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.
Is FIMO suitable for outdoor use?
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.
What is the ideal temperature for hardening FIMO?
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.
Is FIMO waterproof?
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.
Can I mix FIMO soft / professional / effect / Puppen with each other?
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.
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).
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.