oven clay


here are the pics of my dragon!!!!

it has a skeleton made out of wire, which was wrapped with tin foil, and a type of clay called sculpey molded over that to give it it’s shape, which was then baked in my oven to solidify the clay. it was painted with acrylic paints, and there’s some glitter hairsprayed to it’s back 

sadly scupley does crack a little and it did crack on the stomach a tiny bit, but you can’t tell from how it sits. 

it was designed to sit specifically at that angle that it’s stand sits at, i’m not sure if it would break or not at any other angle, but i’d rather not risk it. 

the stand is meant to be a crystal that was made out of cardboard and painted with acrylics; sadly, it doesn’t match up to the quality of the dragon b/c i was pressed for time, but overall i’m really happy with how this piece came out. it was the first time i’ve ever used a clay material like this before, and i think it came out pretty nicely all things considered

(i would be willing to sell it tho for the right price. since it took me weeks to create this, it would have to be at least over $100. if anyone is interested, hit me up at my email xxsaisaixx@gmail.com)


Used my unused abundance of traditional media tools to draw Lucidia skellies!! If I’m not too busy tomorrow, I’m gonna do Salt and Da Queen.

Sage was done with Copic markers. The guitar could’ve been better.

Pepper was done with crayons. She’s all dressed up and ready to brawl!

Cardamom Thyme was done with pencils (I’m sorry for betraying you, CQ). I think I made her look a lot more elegant that she actually is.

Chili P. was done with watercolor pencils. Unfortunately, I accidentally drew him on the wrong type of paper, so it didn’t turn out quite as nice as I’d envisioned.

Da Queen was made of Sculpey (an oven-bake clay that u recommend) and painted with some crappy acrylic paint. I think I did decently for someone that’s only made three complete sculptures in their lifetime. Her eyes follow you!

Salt was made with Chameleon markers. They’re extremely hard to work with, so she didn’t turn out very good.

All characters belong to @loverofpiggies.

Bonus: Chili P. before I added water

Culinary History (Part 21): Ovens

Benjamin Thompson (1753-1814, Count Rumford) was a physicist & inventor who worked to improve English kitchens.  He was not pleased at all with their design, both in terms of health and economics.  In the 1790’s, he wrote, “More fuel is frequently consumed in a kitchen range to boil a tea-kettle than, with proper management, would be sufficient to cook a dinner for fifty men.”

He didn’t think it was worth it for the roast meat that England was famous for, and complained that English cooks had neglected the art of making of “nourishing soups and broths”.  The main problem, he said, was that the hearth was open.

At this time, the typical English kitchen had a very long range (because of all the pots that had to be put on the fire).  This meant that a huge, very tall chimney was needed, wasting fuel and making the kitchen extremely hot and constantly smoky.  There were also cold draughts by the chimney.

To solve this problem, Rumford built invented his own custom-built closed range, which he installed in the House of Industry in Munich (i.e. the workhouse).  It used far less fuel.

Rumford’s range had many small enclosed fires, instead of one large fire.  Each pot had its own separate, closed fireplace.  The fireplaces were built with bricks (for good insulation), had a door to shut them, and each had their own individual canal which took the smoke into the chimney.

But while Rumford’s design was a major improvement, it never caught to a wide audience.  Part of the problem was that ironmongers (the main producers of cooking apparatus at the time) didn’t want to sell it, because it was made from bricks and not iron.  (Later on, various “Rumford stoves” would be marketed and sold, but with no connection to the original.)

But it wasn’t just a marketing issue.  People hate change, and they were determined to stick to the old ways.  The English believed that open fires roasted, and bread ovens baked.  You couldn’t mix the two together.  In 1838, Mary Randolph said, “No meat can be well-roasted except on a spit turned by a jack, and before a clear, steady fire – other methods are no better than baking.”

Inventors kept working on spit-jacks for ages.  In 1845, a patent was taken out for an electrically-propelled spit-jack, using two magnets. Even in 1907, the Skinners’ Company in London had a 3.3m-wide roasting range in the Guildhall kitchen.  Progress was not so easily won.

Baking vs. Roasting

In the Middle East, this baking/roasting division did not exist.  The Arabic word khubz means “bread”, and from this comes the verb khabaza, which means “to bake/make khubz”. But it can also mean “to grill” or “to roast”.

Mesopotamian bread ovens have been found dating back to 3000 BC (modern-day Pakistan, Syria, Iran & Iraq).  They are round cylinders, made of clay.  A fire is lit in the bottom of the cylinder; then dough is lowered through a hole in the top and slapped on the inside of the oven.  A few minutes later, it has baked into flatbread, and is lifted out again.

These clay ovens are still used today in the Middle East, Central & South-East Asia, and in many rural areas in African countries.  It is called a tandoor.  Many other things are cooked in it, not just bread.

The tandoor cooks with intense, dry baking heat.  Even poor households used them to bake bread.  In Amarna (an Ancient Egyptian village from 1350 BC), half of the labourers’ houses showed traces of a tandoor.  Unlike in medieval Europe, where it was believed that the only real bread was professionally baked, home-made bread was the preference.  In medieval Baghdad, a marketplace inspector once remarked that “most people avoid eating bread baked in the market.”

Like the portable braziers of Ancient Greece, the tandoor was portable, and far better than building a fire in the hearth.  They were also cheap.  An “eye” at the bottom of the cylinder gave control over the level of heat, by opening & shutting.  For example, a round Iraqi water-bread coated in sesame oil would be cooked in a moderate heat, but other breads needed extreme heat.  The fuel is burned directly inside the tandoor, on the bottom, so temperatures can reach up to 480°C (most domestic ovens can only get up to 220°C).

The tandoor wasn’t just used for baking – it was also used for stewing, and for roasting as well.  In the West, tandoori chicken (chicken marinated in yoghurt & red spices) is well-known, and it is cooked in a tandoor.

In Baghdad in the 900’s AD, the tandoor’s roasting capabilities were mostly used for “fatty whole lamb or kid – mostly stuffed…big chunks of meat, plump poultry or fish.”  These were either laid on flat brick tiles, which were arranged on the fire; or put on metal skewers and lowered in from the top.

There are three different types of cooking heat.  In all of them (as physics requires), heat moves from the hotter area/object to the cooler one.

Radiant heat is used for grilling.  It’s like when you put your hand above a heater, without touching it: the heat blasts out from it and warms your hand without you even needing to touch it.  No contact is needed.  A red-hot fire gives plenty of radiant heat from the flames and embers.

Conduction works through direct touch, from one object to another.  This is like touching the heater, instead of putting your hand above it.  Metals are excellent conductors; brick, wood and clay are poor conductors. For cooking, conduction is the type of heat transfer when you put a piece of meat in a pan.

Convection happens within a gas/liquid.  The hot parts of the gas/liquid are less dense than the cool ones, but gradually it evens out (for density and temperature).  This is like the heat of the heater spreading gradually through the room.  For cooking, convection happens when cooking porridge or boiling water.

While any cooking method will use a combination of these forms of heat transfer, one will usually dominate, and it is this which makes the tandoor unusual – it uses all three at the same time.  Radiant heat from the fire below, and from the hot clay walls; conduction from the clay to the bread, or the metal skewers to the meat; and convection within the hot air circulating in the tandoor. This is what makes this oven so versatile.

The old Western ovens were basically brick boxes.  They used both about 20% radiation and 80% convection.  Instead of the constant intense heat of the tandoor, their fire started off fierce (radiation) but then cooled down gradually, and convection took over.  In fact, the food didn’t even usually get put in until the fire had cooled down.

Over the centuries, cooking methods evolved to make the best use of this type of heat transfer.  Food was cooked in order – bread when the oven was hottest; then stews, pastries and puddings; herbs might be left to dry in it overnight, when the oven was barely warm.

In ancient & medieval times, bread ovens were huge, communal affairs.  A manor/monastery kitchen had massive equipment to match the ovens – wooden spoons as big as oars; massive trestle tables to knead the dough on.

Bundles of fuel (wood/charcoal) were heaved into the back of the oven, taken from stoking sheds outside, and then fired up.  When the oven was hot, the ashes were raked out into the stoking sheds.  Then the dough was shoved in on peels – extremely long wooden spoons.  Bakers worked almost naked because of the heat, like the turnspits.

By the 1700’s, baking equipment included wooden kneading troughs; pastry jaggers; hoops & traps for tarts & pies; peels; patty pans; wafer irons; earthenware dishes.

Baking oven & kneading trough.

Pastry jagger (American, 1800-50).

Peels in a medieval baker shop.

Modern patty pans.

Wafer iron (Italian, 1500′s).

Royal kitchen at St. James’ Palace (1819).  There is an open-grate fire for roasting (back right); a closed oven for baking (front right); and a raised brick hearth for stewing & sauces (front left?)  Each type of cooking was separate.

The Oven

It wasn’t just the baking/roasting division that hindered the adoption of ovens.  A fire is homey and comforting, and people were unsure about centering their home around an enclosed fire instead of an open one.  Stoves were introduced in America during the 1830’s, but people said that they might be fine for heating public places such as bars or courthouses, but not their homes.

But they got used to it eventually.  The “model cookstove” became the new focus of the home, and it was one of the great “consumer status symbols of the industrial age”.

The Victorian stove was a large, unwieldy cast-iron contraption.  It had a hot-water tank for boiling; hotplates to put pots & pans on; a coal-fired oven closed with iron doors; and “complicated arrangements of flues, their temperature controlled by a register and dampers” linking all the parts together.

By the mid-1800’s, the “kitchener” was the essential object in an American or British middle-class kitchen.  And like the home, the kitchen was now centered around the stove, instead of around the fire.

At Britain’s Great Exhibition of 1851, the Improved Leamington Kitchener won first prize of all the kitcheners on display.  It used a single fire to combine roasting and baking.  A wrought-iron roaster with dripping-pan was inside, but by closing the back valves, it could be turned into a baking oven.  And it could provide the household with gallons of boiling water – for a kitchener wasn’t just for cooking, but also for warmth and hot water, and also for heating up irons.

The Leamington range was one of the first pieces of cooking equipment to become a household name in Britain.  It ended up being used to refer to closed ranges in general.  There were many other competing models, such as the Coastal Grand Pacific and the Plantress.

The fancier stoves were as much about fashion as they were about practicality.  But it wasn’t just about “keeping up” with everyone else.  Part of the reason for the stove’s popularity was the Industrial Revolution, which created a coal & iron boom, and flooded the market with cheap cast iron.  Ironmongers loved this type of stove (unlike Rumford’s brick stove) because it was made almost entirely out of iron, and so were its accessories.  And new versions were always coming out, so they were constantly selling new stoves, as people wanted the latest ones.

Back in the mid-1700’s, a new method of cast-iron production had been discovered, which used coal instead of charcoal.  John “Iron-Mad” Wilkinson’s invention of the steam engine pushed production even further.  A generation later, cast iron was everywhere.  And kitcheners also supported the coal industry, because they were almost all coal-fired (rather than wood, peat or turf).

Coal wasn’t a new fuel for kitchens.  The first “coal revolution” happened back in the mid-1500’s because of a wood shortage.  Industry expanded rapidly during the 2nd half of the 1500’s, and timber was essential for the production of glass, iron and lead.  Timber was also required for ship-building (the English were at war with the Spanish at that time).  So there was less wood for kitchens, and many converted to “sea-coal” (called that because it was brought by sea), albeit reluctantly.

In rural areas, the wood fire was still used, and the poorer folk in the city and countryside made do with whatever fuel they could find.

The switch to coal changed the way open hearths were set up.  Previously, the kitchen fire had really been a bonfire, with andirons or brandirons to stop the burning logs from rolling out onto the floor. And that was all.  It was dreadfully dangerous.

A Saxon archbishop in the 600’s AD said that “if a woman place her infant by the hearth, and the man put water in the cauldron, and it boil over and the child be scalded to death, the woman must do penance for her negligence but the man is acquitted of blame.”  The open fire was especially dangerous for toddlers, and also women, because of their clothes.  Medieval coroners’ reports show that women were more at risk for accidental death at home than anywhere else.

Kitchen fires were common, because houses were made of wood.  The Great Fire of London was caused by a kitchen fire at Pudding Lane.  The city was rebuilt with brick, and the new houses had coal-burning grates.

With coal, a container or improved barrier was needed, to stop it going everywhere.  A metal grate was used to solve the problem, called a “chamber grate” or “cole baskett”.  Now the open fires were slightly more enclosed, and a bit safer.

More kitchen equipment was needed.  A cast-iron fireback protected the wall from the fierce heat of the fire.  Fire cranes swung pots over the fire, and off it.

Firebacks (Victorian & 1300′s).

The biggest change was the chimney.  In the 2nd half of the 1500’s, more chimneys were built.  Because of the disgusting coal fumes, wider chimneys were needed to carry away the smoke.  The increased levels of smoke may have contributed to the high incidence of lung disease among the English.  It was certainly terrible for people’s health.

Back to the Victorian kitcheners.  While it was a technological improvement, it wasn’t much of an improvement in terms of practicality.  Many of the early cookstoves were poorly-constructed and gave off terrible coal fumes, unlike Rumford’s ideal stov.  A letter to The Expositor in 1853 called them “poison machines”, and spoke of three people who had recently died from the fumes.

And they were inefficient, too.  American promoters claimed that they saved 50-90% on fuel (compared to an open hearth), but a great deal of heat was wasted.  The problem with stoves being made of iron was that they weren’t insulated (again, unlike Rumford’s stove).  Lots of heat was being radiated out into the kitchen, and the cook had to deal with not only that, but also the soot and ash dust.

The kitchener certainly wasn’t labour-efficient.  In fact, it was often worse than an open hearth in this case.  Getting the fire going was just as difficult, and polishing & cleaning the range took ages. In 1912, the wife of a policeman listed her daily duties for the range (excluding the actual cooking):

  • Remove fender and fire-irons.
  • Rake out all the ashes and cinders; first throw in some damp tea-leaves to keep down the dust.
  • Sift the cinders.
  • Clean the flues.
  • Remove all grease from the stove with newspaper.
  • Polish the steels with bathbrick and paraffin.
  • Blacklead the iron parts and polish.
  • Wash the hearthstone and polish it.

The real improvement would be the gas oven.


The Removal of the Heart

When I created this process, I had been through a very rough period in my life. A dear friend and ex-lover of mine went missing and, if that were not enough, I – as a witch – had a very hard time dealing with the fact I was not able to find him. At was at this time, I made the choice to drink Morning Glory tea and seek him out – what I found was all the more heartbreaking. I knew he had gone from this life – and lo and behold, months later the news arrived. It was at this time – because, even though I knew he had perished, there was a touch of hope that perhaps I had misinterpreted the signs, misunderstood the message – that I decided to remove my heart.

So, I sat down and worked out the specifics, knowing well what I was doing. When the time came to do the ritual, I prepared. I had crossed every “t”, dotted every “I” – but as I began, I knew this was not what it seemed. I had written it to free myself of the heartache by means of metaphorically removing my heart. What I found was all the more placating. As the ritual proceeded, I knew I would not be removing my heart – but memorializing it. I penned out a lengthy letter, in which I tied up all loose ends – not just with the aforementioned, but all loose ends of my life. I wrote them all out and folded the paper inside the heart, let the wax seal it in and I had done what needed doing, and made an oath then and there:

All these things, I will carry with me always, but no longer might they hold me back. They have been sealed in the past, so that I may move forward – but forever, all of them will remain, tucked away in my chest.

I sealed up that heart, wrapped it in cloth and then stowed it away in a miniature, wooden chest (Word of wisdom, though, make sure you remember where you stash it, because I spent 20 minutes searching all over for the damned thing so I could take a photo or two!).

So, if you are ready to allow the past be the past, and seal up the memories – I have brought to you the ritual.

Things You’ll Need:

For the Heart

  • Air-Dry or Oven Bake Clay – however, if you have a kiln, by all means… – also, as a last ditch, you can use clay-rich soil/dirt, I talk about the process here
  • Wax – you can use candlewax or paraffin, which can be found at most supermarkets (you’ll have to ask someone, because no place puts it in the same damn section [I’m not still bitter])

  • (Optional) Paint – I used red and pink wax, so I forewent the painting process

For the Rest

  • A Box/Chest/Bag or other Storage Option
  • Time (& other supplies of your choosing) – as I said, I sat down and wrote everything out, but that isn’t the only way. If you want to burn some things, scream, do a little crying, do what you need to do, just make sure you have something to stuff into the heart!

  1. The process is relatively simple, but somewhat time consuming. Begin by sculpting your heart – as you can see, I went the more anatomical route, but the symbolic heart is perfectly fine – it’s your heart, sculpt it however you damn well please. However, you’re going to want to hollow it at least partially out. That’s where you’ll be shoving all the memories and tokens and whatnot. After complete, allow it to cure – through air drying or oven baking. This can be a timely process, don’t rush it.
  2. Once completely dry, in a double boiler, melt your wax. It’s not recommended to melt paraffin in the microwave, as it’s a minor fire hazard. If you don’t happen to have a double boiler, a bowl that snuggly hugs the sides of a pot will work just fine – though not plastic, that would be another hazard. Once the wax is thoroughly melted, remove it from the boiler and allow it to cool momentarily. On a nonstick surface, such as wax paper or aluminum foil, place your heart hollow side up. Pour the wax into the hollow and turn it so that it evenly coats the inside. This may also take some time. After a few moments, the wax cools enough to touch – so you can work it with your hands.
  3. Once the inside has cooled enough to remain solid, cover the rest, following the same procedure, allowing it to cool and then working it with your hands. This seals any cracks and also gives the added bonus of a nice, smooth, shiny coat once hardened.
  4. Once the heart is complete, the rest is very much up to you – however you wish to go about it. I went through a lengthy process of setting up an entire table for the working – covered in photos, keepsakes and the like (which I then boxed separately for safe keeping, out of sight and out of mind). After having written the very long letter, I folded it up and placed it inside, then melted a bit of wax over it to secure both it and a candle – which I lit and let burn down so that it would seal it the rest of the way.

As seen above, I keep mine in a small cedar box, wrapped in a handkerchief on a bed of Sulphur – but your choice of storage is entirely up to you.

As a word of warning, since the “removal” I become a witchy-nun – vows and everything, so that could be a possible side effect, I’m not entirely sure.

Tony & Clay cooking in the kitchen goes wrong

I decided to combine my anonymous request of clony being married and my friend @linkkay idea about Clay offering to help Tony in the kitchen. I hope you guys like it! Don’t forget to send me fic ideas if you have them :)

This was the first time the Padilla’s were hosting Thanksgiving at their place. That is, Tony and Clay Padilla.

They had only been married a year and a half but that didn’t discourage Tony from wanting to host and cook for his loved ones. Clay didn’t mind the company either but when it came to the cooking…he was absolutely terrible to put it bluntly.

Fortunately, Clay and Tony’s parents offered to bring dishes so all of the work wouldn’t fall on Tony. The main thing that needed to be done was the turkey and some deserts. 

As Tony was finishing up with the turkey and placing it in the oven, Clay rounded the corner with a huge grin on his face.

“Hey babe,” Clay wrapped his arms around Tony from behind. “it smells amazing in here.”

“Thanks, mi amor. I hope everything turns out well.”

Clay kissed Tony’s cheek in reassurance. “It will, don’t worry about it. I’ll help you.”

Tony couldn’t help but laugh hysterically.

“What’s so funny?” frown lines appeared on Clay’s forehead.

“Baby, you can’t be serious.” 

“I’m very serious.”

“But…you can’t cook. Hell, you can’t even boil water properly.” Tony cracked.

“Oh fuck you, Tony. All I have to do is follow directions, it can’t be that hard.”

“Alright, if you think it’s so easy, be my guest.” Tony motioned for Clay to get started.

“Well I didn’t mean doing it all by myself. I could assist you.” 

“Haha okay,” Tony reached for a book on the kitchen counter and flipped to page 17. “This cookbook was a gift from my mom. It has the recipe to a ton of deserts in here. I was thinking of making peach cobbler.”

“That sounds good but something with chocolate would be better.”

Tony scoffed. “Okayyy, how about we do brownies afterwards?”

“Heck yeah!” They both laughed. Clay was such a nerd but Tony secretly loved that about him.

“Alright!” Tony clapped his hands together. “Let’s get started. Start reading the ingredients to me.”

The peach cobbler consisted of peaches, lemon juice, cinnamon, sugar, flour, and so much more. The first step was to measure out all of the spices, starting with the flour.

“One cup of flour coming right up!” Clay picked up the jumbo bag of flour and began pouring it into the cup. It overflowed.

“Clay, that’s way too much” Tony chastised. “scrape some off the top and put it back in the bag.”

“Yes, sir.”

Tony side-eyed Clay.

Clay took a butter knife and abrasively took the extra flour off in the direction of Tony and it splattered all over his black sweater.


“It’s okay…I’ll just go and change.” Tony’s voice was calm but there was an underlining edge to his tone.

To make it up to Tony, Clay decided to go ahead and continue with the directions and measure each ingredient and dump it into a giant bowl. By the time Tony got back the kitchen and Clay were in shambles.

“I found this apron in the garage so I thought it’d be a good idea to- Clay! what the fuck are you doing!?”

The kitchen-aid mixer was on high and spinning the concoction of dairy products and seasoning all over the counter tops and floor, making the whole ordeal catastrophic.

“I don’t know how to turn this thing off!” Clay said in a panic. Tony immediately reached for the cord and unplugged it out of the socket. The mixer came to a definite stop.

Clay’s face reddened.

Why didn’t I think to do that, he thought to himself.

Tony slowly walked up to Clay and held his face with both hands. He left a lingering kiss on Clay’s mouth and seductively whispered “Clay, I love you, but if you stay in this kitchen for one more second…I will kill you.

“I-I’m sorry, I should help you clean up-”

“Clay!” Tony said with a little more force and growl. “leave now or I will fuck you against this counter-top so hard you won’t be able to walk straight for days.” 

Clay was speechless, turned on, and a little frightened all in one.

After Clay left the kitchen, Tony licked some of the goo from the mixing bowl off his thumb and hummed in pleasure.

This isn’t half bad, he thought.

“Hey, my mom just texted me, she said they’re on their way.”

“Okay, I’m just finishing up the brownies so it’s perfect timing.”

Clay got a whiff of a weird charred smell. “Tony…what’s that smell?”

Tony’s eye ballooned. “Shit!” He ran to the oven and opened it up to find the turkey black and inedible.

“Fuck me.” Tony whispered.

“What happened?” Clay asked, oblivious to the ruined turkey.

“I burnt the damn turkey! You know, this is all your fault.”

“How is it my fault!? You should’ve been paying attention to the time.”

“I forgot to put the timer on because I got distracted by you.” Tony gave him an accusatory look.

“I still don’t see how it’s my fault but whatever. What are we going to do?” Clay asked.

Tony sighed. “I don’t know.”

An idea came to Clay. “Oh, I know! I can just ask my mom to bring a roast from the store. I mean it’s on her way here, right?”

Tony kissed Clay’s hand. “That’s a good idea.”

The house was full of warm spirit as everyone gathered around the dinner table to take a seat. It was a family tradition for the Padilla’s to go around the table and say a few things they were grateful for. It started with Tony’s parents and made it’s way to Tony, saving the best for last.

“I’m grateful for all of this amazing food God has blessed us with. I’m grateful for all of you being here. I’m grateful to have a roof over my head and a bed to lay my head at night but most importantly I’m grateful for Clay.”

Tony turned to look at Clay with an intense, loving stare. He wanted to make sure Clay knew how much he meant to him.

“You and I have been through so much and I’m so glad we made it out the other side. I can’t imagine my life with anyone else but you. I love you, Clay.”

Clay looked down briefly to hide his blush but everyone in the room could see it.

“You have mi corazon for life.”

Clay squeezed Tony’s hand “Happy Thanksgiving, Tony.”

“Happy Thanksgiving, Clay.”

*mi corazon means “my heart”*

Yu-Gi-Oh Diadhank Cosplay Prop ~Walkthrough~ with lots of pictures

Hi guys! As requested, I’ve made a walkthrough of how I made my Diadhank (aka, Season 5/Ancient Egyptian Duel Disk) prop for my Thief King Bakura cosplay. Feel free to reblog, share, and consult!

(Photo cred L->R: Anime USA Official Photog, @neofi-cosplay, @justlikeswitchblades with minor brightening by me)

I made this prop a few months ago, so I only have the progress photos I remembered to take, but hopefully I can fill in the gaps with explanation.

As always, I hope this tutorial helps give you a good idea of where to start, and that you make it your own project rather than copying mine move for move. You can learn a lot that way, and taking liberties is what makes your project unique. Anyway, let’s get started~

Keep reading


It’s getting hotter outside, the days are getting longer, the nights shorter. The stars are shifting. This can all point to only one thing: summer is nearly here. 

We all know what that means.

To help us all prepare, I have a short list of what can and cannot go in your mortar and pestle.

  • Ginger: Yes, but make sure you remove the hard exoskeleton and legs first. You do not want any of this getting in there.
  • Bones: It depends. If the bones came from a mammal or bird, yes. Reptile?

  • Bake them in a clay oven for six days first. Fish? Better to not.

  • Teeth: Never.

  • Deer hair: Of course. This is necessary for summer, as we all know. Make sure you’re properly stocked up. Wouldn’t want to be caught short handed.

  • Flowers: All flowers, especially dandelions. Make sure you dry them first. Plan accordingly. 
Let the station know if you have any other questions about what can and cannot go in your mortar and pestle. Best to be prepared.

I realize I didn’t post these up here so here ya go! Thomas and Winny have been really busy bees as of late, so I decided to send em some lucky charms in a box. Wayzz and Nooroo need some more love♡

These “Miraculous Boxes” are made using a variety mix of oven bake clay brands, some woodcut jewelry boxes, construction papers, sticker jewels and acrylic paints. The eyes glow in the dark :)

eyeskun-deactivated20170603  asked:

Did u make the orbtrap? :000 he lookd adorable :'D what is it made of??

Yeah, I made the little guy ^_^ The orbtraps are made of Sculpey oven-bake clay, then painted with Citadel paints!

You can see I did kind of a bad paint job on this one ;-; The other one looks better but someone broke it D:

The book I been studying this week.

Also the rosary-style Enki necklace I made the other night from lapis and oven clay, and lapis bracelets xD. I wanna remake the pendant for the rosary, so it’s two sided and better quality after I get the hang of things.

I’m feeling the Lapis. Sumerian gemstones in general. I wanna perhaps make a whole set based on the stone/metals/and loosely based on their designs… Maybe also an Ereshkigal necklace…

anonymous asked:

do you know of any people that make custom sigil tokens/charms/etc ? i want one thats pretty permanent and that i can carry with me essentially : O (i designed my own sigil but i just want like, a pretty version of it haha)

This was something I really wanted to do myself actually. But where I stand now, I don’t think I can in the near future. But I have plans…

And otherwise, no, I don’t know of any people that do that, sorry. :(

There are a crap ton of tutorials on how to make clays and stuff like that, with flour and glue and various things; you could make some yourself to make it super personal to you :3

Boom! :D