by Cynthia S. Becker

In the course of 30 years, I’ve tramped through a lot of old graveyards. The stones have become so compelling that now I find myself wandering through old cemeteries as I would an art gallery. The stone carvers’ decorations run the gamut from sweet to grotesque, primitive to masterful.

It is not surprising that graveyards have played a part in my artwork. Trained as a painter, I did not find it practical to earn a living as an artist. Five years ago I returned to art in three-dimensional media. Since that time I have worked primarily in polymer clay. This modern plastic material holds fine detail and cures at a low 250-degree temperature. When cured it can be drilled, carved, sanded and even buffed to a high gloss. I produce small sculpture and jewelry.

During a cemetery visit, it occurred to me that some of the carvings on tombstones could be used as the basis for jewelry pieces. I returned prepared with cornstarch and clay to take some molds. Cornstarch serves as a release agent to prevent the clay from sticking to the stone. After the mold is cured, it is brushed with cornstarch. Clay is pressed into the mold to reproduce the image from the stone.

My favorite mold is a five petal, dogwood type flower from a granite tombstone carved in the 1920’s. The stonemason’s sharp cuts translated to clay with a distinctive shape and texture. With a 1-¾ inch diameter, the flower is perfectly sized for a pin.

Polymer clay is so versatile that I can make this little flower look like it is carved from jade, ivory, wood, or cast from shiny gold or metal that has rested forgotten for centuries on the ocean floor. Surface designs can make the flower appear to be shaped from fabric. Sometimes I set a faux opal or turquoise stone (also made from polymer clay) in the center of the flower. I bend and stretch the petals so that the once flat carving blooms.

The story behind my little flower pins adds a certain charm for many of my customers or friends who receive them as gifts. They look forward to the opportunity to say, "My pin? Oh, it’s reproduced from a carving found on a tombstone in a remote little cemetery." No doubt it surprises many people that such beauty can be found in old graveyards.

Recently I wrote an article for other polymer clay artists extolling the virtues of using small molds to test new techniques, and I revealed the source of my little flower mold. I knew this would send many polymer artists to the nearest cemetery. I added the following sidebar to the article with tips for preventing damage to gravestones while making use of the wealth of carvings they display.

For those who choose to explore the hidden treasures in cemetery carvings, the following tips and cautions are offered after consultation with Jeanne Robinson, Executive Director, Oregon Historic Cemeteries Association.

You will need polymer clay, cornstarch, a soft brush, and a paper lined tray to hold completed molds. Also bring a gallon jug of water to which a tablespoon of ammonia has been added, spray bottle, soft natural bristle brush or soft toothbrush, sponges, old cotton dish towel or paper towels, and hand clippers for cutting weeds.

It would be considerate to ask permission to take molds. Some cemeteries may have rules to protect the stones.

Old gravestones can be fragile. Do not lean on them or treat them roughly.

Do not attempt to clean a carving that is heavily overgrown with lichen, algae, mold or moss. Cleaning a tombstone can easily damage the surface and encourage deterioration. The safest way to clean away small amounts of dirt or growth is by flushing generously with mild ammonia water solution. Soft natural bristle brushes, soft toothbrushes and sponges many be used gently to work growth from the surface.

The plasticizer in polymer clay could potentially penetrate very porous stone such as marble. Consider using Super Elasticlay, which is designed for mold making.

If using polymer clay, use the oldest clay you have. This is a good way to use those scraps that you just can’t bear to throw away. Roll the clay out in sheets and stack it between layers of white paper. Place a sheet of aluminum foil on the top and bottom of the stack. Weight this down with a book and allow it to sit for two or three days. The paper will leach plasticizer from the clay. Change the paper daily until the leaching stops.

Thoroughly dust the stone carving with cornstarch. If the stone is damp, blot with cloth or paper towels to absorb moisture before dusting. Press a ball of clay firmly against the carving and remove. After taking the mold, brush the carving again with cornstarch to absorb any clay residue. Brush gently to remove cornstarch and any clay.

These suggestions are designed for polymer clay. Please do not try to make a tombstone mold with other molding compounds without first investigating the safety of the product on old, porous stone.

Cynthia S. Becker, P.O. Box 101356, Fort Worth, TX 76185-1356, Phone: 817-926-4552, Email cynipid@aol.com.

Polymer clay is sold in craft stores under brand names such as Sculpey, PREMO, FIMO, and Cernit. Super Elasticlay, made by Polyform Products Company, Inc. is also available in craft stores.

If you would like to learn about using polymer clay, contact the Columbia Gorge Polymer Clay Guild <http://CGPCG.org>