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    Metal Clay Jewelry 2012

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    jj856

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    © All Rights Reserved
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    how-to pro) jects Learn a threading technique f for making screw-top containers nx Give jewelry a personal touch by preserving fingerprints p.7 Make bangles that fit perfectly pz How to add color using dye oxide patinas >. 9 Build ona basic leaf-painting * technique pw ‘www.ArUewelryMag.com Since 1944 Sharing your passion for making jewelry. Products. Service. Know-how. A Sterling Reputation Professional strength. Unmistakable quality. ‘lam captivated by the new PMC Sterling mm it's very strong when fired and lovely to work with." Corset ring —Celi by Celie Fago. Celie Fago PHC Sterling™ Metal Clay This is exactly what you've been waiting for. Does your imagination demand the versatility of metal clay? Do your designs require the strength of real sterling? PMC Sterling™ is here... just in time. Tome contact us today for your Rio catalogs. 107-761 800.545.6566 —_riogrande.com G@ & es testudio PMC STERLING BIG CATALOG. MAXIMUM SERVICE. Mee aaa eee SS der) ‘The Metal Clay Triple Th: nena eure $189 Electric Kiln 222777 8" tallx6.75" wide 6.5 lbs. METAL CLAY FIRING” * Fires PMC3, PMC+ and Art Clay 650 siver clays * Fires PMC Sterling and FF BRONZclay with carbon” * Just ON and OFF - no controller or pyrometer needed + Temperature limit prevents melting your metal clay creations ALSO GREAT FOR GLASS FIRING** ‘Tack Fuse in 20-25 minutes - Full fuse in 35-40 minutes + No thermal shock experienced during testing + Just ON and OFF - no controller or pyrometer needed + Use extra base to set up projects while another is fring + 4" Ceramic Fiber firing paper in 12 sheet packs available * Also great for Glass Bead Annealing and Enameling, + Easy to "peek at fusing progress i SS. } SUReTa Sure projects 22. Perfect Fit Bangle by Jewelyn Vanoni Adlever hidden mechanism, keeps this bracelet on your wrist. ADVANCED COVER STORY 26 Make aThreaded Connection in Metal Clay ‘by Wanaree Tanner Mold threaded components to use in finished designs. INTERMEDIATE 30 Leaf-Textured Ring byAlina Gridley Create a ring with a leaf texture and a comfort-fit band, BEGINNER/INTERMEDIATE Openwork Pendant with Free Form Bezel-Set Cabochon by Deb Fitz Frame a dimensional design accented with open spaces and a bezel-set stone. ADVANCED in side Metal Clay Jewelry 2012 26 Troubleshoot Design Ideas on a Budget byTina Degreef Mix kitchen ingredients to make a nontoxic modeling compound you can use to test your designs and textures. ALL LEVELS Appliqué Bronze Clay Earrings by Yvonne Padilla Layer bronze metal clay cutouts to produce a delicate appliquéd design. BEGINNER A New Approach to Colorful Patinas by Susan Breen Sivy Play with a broad palette of colors in your designs with dye oxide patinas. ALL LEVELS Fingerprint Pendant by Maggie Bergman Capture a precious finger- print, then use it to createa lasting keepsake. BEGINNER/INTERMEDIATE 62 ATwist of Copper and Pearls byPam East Finish copper clay tendrils with pearl drops. INTERMEDIATE 67 Fine Silver Flower from Metal Clay 72 Mokume-Gane bylynn Cobb’ Pattern Pendant Assemble painted leaves by Hadar Jacobson to create a beautifully Copper, bronze, and steel detailed flower. clays replicate the look of BEGINNERVINTERMEDIATE mokume gane in metal clay. INTERMEDIATE special features 6 Editor's Letter 18 The Essential Metal Clay Toolkit 7 References by Cindy M.Pankopt Basic Techniques What tools are must-haves Regarding Tools toworkin metal clay? Metal Clay Dryness Chart Metal Clay Safety Basics 39 Gallery 8 Artists & Writers 77 Firing & Usage Chart Abasic quide to clay types, 10 The Esser Metal and how to fire them. Clay Techniques . by Cindy M. Pankopf 81 Contacts & Suppliers Wet Clay Techniques Drying 82 Beyond Jewelry Dry Clay Techniques Graceful birds depicted Firing in metal clay. Finishing Salvaging Mistakes from the editor Hazel wheaton Here's to metal clay! ‘When we published our fist Mera Clay Jewelry 2010, we were excited by the ‘experiment, while being aware that it ‘was an experiment. Metal cay is only ‘one ofthe jewelry-making media we cover in Ar Jewelry magazine; was there audience enough to support an issue dedicated solely to that topic? ‘The answer to the question is apparent, given that you're currently holding Metal Cay Jewelry 2012 in your hands. Our experience with the frst special issue helped clarify what our readers want us to give ‘them. In short — projects and how-to's Specifically, new projects and how-to's Leavened, of course, by a healthy dose of inspiration. It's my pleasute to bring you just that. ‘The dedication of contemporary metal clay artists is truly impressive, as they work to define what i still afterall relatively new field, Metal ‘lay as a medium is less than 20 years old; n the last five years alone, bronze, copper, steel, and now sterling silver clays have been intro- duced. A new medium requires new tools, and new methods and techniques; metal clay developers and jewelry makers have stepped Lp both technologically and artistically The steps that these makers have taken in moving their chosen field forward is inspiring, and thelr ‘enthusiasm in sharing their knowledge is contagious. Phetbedicens hwheatonartjewelrymag.com SPECIAL THANKS 1d lke to extend my gratitude to Tamara Honaman, who served ‘3s our consultant metal clay expert and technical editor on this project. This issue would have been afar different animal without her contributions. Thanks a million, Tam! ‘Contact: www.tamarahonaman.com ‘Te ewer designs neta ly Jewel 2012 ar copyrighted. Peewee for our ‘etvcaon an psoraenjonmen They ay note tughto sl whoutpemison seae oe Editor Harel L Wheaton Senlor Art Director Lisa A. Berean Technical Editor Tamara Honaman Associate Editor Arnie Pennington Assistant Editor Reidin Dintaner Editorial Associate Theresa Abelew Contributing Copy Editor Kristin Sutter Graphic Designers Rebecca Markstein, isa M, Schroeder Photographers Wiliam Zuback, Jim Forbes lustrators Kellie Jaege, Jay Smith Publisher Lindo Kast Kalmbach Publishing Co. Executive Vice President Cisle RCo Vice Present Elta Kevin Kee'e Vie President Advertising Scot Slew Vice Present Marketing Dari! Lance Corporate Art Ditectr Maureen M Schimmel Production Supevisor Hole gists Production Coordinator Anne Gulberg Corporate ceulaton Director Michie! Boose Group Circulation Manager Catherine Danis CGeeltion Coordinator B30 Qalnan Single Copy Sales Director Jery Bustin Advertising Phone: 558544 ot 523 Ema adsaleroarteweymascom Group Advertsing Manager Aon Erith [Advertsing Sales Representative Dina Johnston ‘Ad Services Representative NavettsHacktarth To contact our departments: Customer Service (Outige the Sond Canad 2627958776 ext 421 Emit eastomesseniceshalmbachcom Pore bcudeneie, ess endphoneramber \wihat crespondene Dealer Sater Phone: ano $58 544 ot 818 Outude the US and Canad 2627968776 ex. 818 Ema isetalmbach com Uae: vetlel com ator Phone: 262705577600 19 mat educroarjewelymoscom Books Ema booksglaimbach cont www.ArtJewelryMag.com ‘ended coms tr el yey ‘rapt atroch Ping Co, P.Bo 161 ‘hina Peearse.. references If there's one constant about the world of metal cay, it's that it's constantly changing, which can make it confusing for newcomers to the field So, where do you you start? Basic Techniques “The Esser Metl Gay Techniques,” page 10.8 great inttoduction to some ofthe fundamental processes volved im mnaking metal clay jewelry Even if you've worked with metal dy before, take some time and read though the section itl give you quick reftesher and get you teady to tackle allofthe projects in the magazine. (ur ing and Usage Chat” page 771s a excellent quick reference for fring times and schedules or he diferent types of clay currently on the market. However ts aay a 900d idea ro check the manufacturer's instructions forthe spedfic ype of cy youre using especialy the newer formulations of copper see and sterling sive clay. Experiments axe ongoing! Regarding Tools Also, be sure to check "The Essential Metal Clay Toolkit," page 18. This is 2 slid outine ofthe basic tools that you'll need to work with metal clay. Each project contains tools & material list that outlines what youll reed to make the specie project. In order to avoid redundancy, the tool & —~e"* 2 small spatula to move pleces. Give ita minute or blow on your piece to cool it before you touch it. Look fora metal spatula with a wooden or insulated handle. A small offset icing spatula works well Tools for working with dry clay [A] Micro filesin diferent shapes tin tight spaces nd work wll to tefipeieguar edges or cut-out. youl be ding les of sanding and filing of you have respiratory sues, wer amask with amimimumrating| of, Yur lungs will hank you, These ae avalable at the hardware store. [B] Arubberbioc its your work, ging you beter visbity and eon to imanuever your took. exp your pieces supported ‘onthe lack am the dry satel the way ‘through polishing [C1 Emery boards ae used fr straightening and smoothing staat edges Drug stores cary roe varieties and gts than you wouldeypect ket have acoarse one (150 gt), ands fine one 300. [D] Sanding swabs are ike gt cotton swabs, or sandpaper onastick Tere aretwo szes of swabs; ach ‘armen sets ferent ts. usethe cease ones sand tight spaces and iegular shapes. LE] Have afew dritbits 1 mm and smaller to make holes just ge enough fora jump ring brushes wrk areatfor ths IF 1 Don't blow meta dy dust ino the ais use dusting brush to gem remove itso youangaterittomale pasteand nat breathe itn fyeshadow TH] Sanding pads oe gis attached tori, lene foam pads. These make sanding curved esas and ve a bitof cashion for the inges. ook for the ame git stration sandpaper, 180-1200 IG] Keep seeral gis of sandpaper ‘mband 180- and 320-gitare good forshaping;600-and1200-git are ond for removing sanding maks and pe posing, yu pan torecaim Your sanding dust use high-quality ‘sandpaper inexpensive sandpaper leaves partes inthe dust that make back umpsin fished jeelrymade from reconstituted ay dust emwarienetymagcon 18 THE ESSENTIAL METAL CLAY TOOLKIT Firing Tools There are many brands and styles of kilns [A] on the market at different price points. Look for one that plugs into a standard ‘outlet and that has a built-in thermostat and the ability to set your own firing schedules. The Paragon SC? is commonly used for metal lay because itcan also be used for enameling, The term kiln furniture refers to items placed into a kiln to support the work, Lightweight fiber shelves are commonly sed ina kiln with metal clay Place lat pieces directly on the shelf, or use the shelf to support vermiculite dishes ora fiber blanket. Kiln post raise the shelf off the floor of the kiln for ‘even heat circulation and can be used to stack shelves, ‘When the clay s heated to the proper temperature twill ‘slump if not supported. Fat items can be fired on a flat surface, but curved need to have bits of fiber blanket [B] beneath them so they/re completely supported. Wash your hands after ‘touching fiber blanker. You don't want to get any bits in your «eye or breathe in any of the fibers. Wearing a mask [Cla good idea. (Keep any unused fiber blanket in a bag, away from kitchen counters or eating surfaces) ‘Vermiculite is made up of tiny chunks ofa natural mineral Itisinexpensive, reusable, and nontoxic, and makes a great support for irteqular pieces when fing, Pour some into an nglazed ceramic dish and nestle the dry piece into it unlit [sfully supported, Place the dish on a kiln shelf then into the kiln. Vermiculte can be found in the garden department as 2 soiladditive. Use long-handled tongs to move hot shelves in and out of the kiln, Most base-metal clays need to be fred buried in carbon ‘medium [D] to prevent the surface of the metal from oxidizing and inhibiting sintering Different carbons can produce diferent effects and vary in reliability, For example, coal carbon can produce some wonderful colors on bronze metal clay, butts not as ellable 2s acid-washed coconuit-shel, carbon, Magic carbon is reliable and lasts for many firings. All carbon should be sifted afte fing to remove binder ash Carbon dusts lightweight and easy to breathe in, so always ‘wear a mask when pouring or sifting it. An N95 mask is the ‘minimum rating recommended when handling carbon, Stainless steel is the most commonly used type of firing aan [EI for holding carbon when fring base metal clays. Pans. ate also available ceramic and other materials, Use a pan fork to remove a hot fring pan from the kin you willbe loading in and out of a hot kin, use hee proof gloves to protect your hands. Looking into a glowing hot kiln can damage your eyes; ‘wear kiln glasses designed to shield them from the heat and radiant energy produced inthe kiln Keep a pair of tweezers nearby when fring justin case you reed to move a hot pce. ‘Asmall stainless steel bowl filed with about? in, (51 mr) of water is perfect for flash cooling (quenching) 2 hot, feshly fited piece. Quenching is not appropriate inallstuations and can ruin some pieces; follow the instructions for each project. Finishing tools (A, Polishing squares come 2s asetof ine in. (Sm) foam squares wth gts from 1.5000 12,000, Work though the entire stack ofeach set, and you piece wl end up with 3 suigeousreiectve surface, {B-D] seh uty brassbrush 8] with along handle, sft bristles anda wide head mare than any other jv satin ish othe metal and ithe fst step fora shiny ish It shouldnot eavematksin fred metal A steel brush Chas short,sarp tel bustles tha give ascratch inh, ‘Thestroke mars wl be vise onthe fished pic, ke ataness steel frigrater. 1 canbe fic to brush tight spaces; tiny steel brush [0] can falas anyuhere I's extras sotcan aso be used to reat scratch pattern dsignsin the metal UH) The st stepin shining pice torubit with a polishing loth, soft ath charged wih ever rouge. Use to remove oxidation. Pre-poishng pas, tiny pieces of thin, dense foam ‘charged with polshing compound, serve the same purpose. Because they ae rather they canbe esd in tight paces 1) Tumblers serve dual purpose: to give pieces shiny fish and ‘to wor harden the metal. Rings especially appreciate some timein a tumbler foradtonal durability, tanlessstee shat comes in diferent shapes; mined shots a good all-purpose coke, TF-G] se 600, 1200, and 2000-git ‘wetldry sandpaper [F] after pieces ied to begin eating a shiny finish Nico _gaded polishing papers 6] aresoftand pliable, which makes ther great for polishing Just about any contoured surface. fm woeking ‘toward amor rsh, use them after sand ‘withthe finest rit of wei sandpaper. {E] Burishers are oos with smooth, hard counded ends used to compress ‘the silver. The are usually eter metal ‘or agate, Certain dental ols and even ‘teaspoons can be sed for butnishing, Patination tools "Naturally occuring sulfur in the air will patinate silver or copper over time. To speed the process, dip silver into a solution of dissolved Liver of Sulfur (LOS) for an antique look. LOS comes in chunk form, liquid, or gel. Silver Black or Black Max give a black patina to silver; Baldwin's Patina gives a warm glow to copper and bronze, while not affecting silver at al Glass custard dishes (usually sold in sets of four) make good patina bowls: they're a convenient size and allow you to See the color ofthe solution so you can determine > its strength, You'll need at least three: one for the patina solution, one to rinse, and one for the neutralizing soak. Use tweezers (right) to hold a piece for dipping into a patina solution. (Stainless steels best because itis non-reactive) Get along pair with teeth atthe tips to ctip your work. Cotton swabs (ight) work well to apply patina solution to specific ateas of apiece. tt mae Sect Hit BANGLE a(t MoM al kaley a oke(e( 8 7 een ere f } CeCe es ale Hi that keeps this bangle on your w1 ave you ever lost a bangle bracelet? Maybe itjust quietly slid over your hand when you weren't looking, or maybe the sleeve of your Jacket mysteriously pushed it right off. Of course, by the time you notice it’s gone, someone else has undoubtedly discovered this lost treasure ands skipping home with your bracelet on, Well, no more, This project will show you how to make a bracelet that will slide over your hand, then close in around your wrist for a perfect stay-put fit. Determine the size of the bangle. Posi- ton your hand asif you ate going to slide ona bangle bracelet then wrap a cord around the thickest part of your hand [1] ‘This will serve as the measurement for the length of your bangle. Cut the cord 2in.(51 mm) longer than your measure- ment so you have alittle extra material to work with NOTE: The cord will serve as the core of, ‘the bangle and will turn to ash during ‘the firing process Create the base of the bangle, Coat your hands and work surface with olive oll or natural hand balm. Wrap a 25 g lump of, ‘metal clay around the midpoint of the cord, being careful not to trap aie between the cord and the clay [2]. Rol the clay out. Keep your hands on the clay, stretching in ‘an outward motion so the cay covers the cord almost tothe ends [3]. Use a craft knife to trim excess clay from both ends so the length of clay is ‘equal to your bracelet measurement [4]. Curve the bangle base into an oval shape with the ends centered on one of the long, sides of the oval, Using scissors, cutoff the. ‘exposed cord ends [5].Return the bangle base to its oval shape with the cut ends lined up. Using a craft knife, cut through the clay layer — but not the cord — opposite the ‘cut ends [6). These will be your seam ends. Reform the oval ifneeded. Allow the clay to dry completely (See the “Metal Clay Dryness" chart, page 7). Create the bracelet mechanism. Once the base is dry, check the clay seam end, ‘opposite the open ends. The clay — not materials + Metal ay. «Lump day 48.9 1 Malay synge “Meta clay paste SS tools & supplies Inaddtion "The Esertil Metal Choy Toolkit” page 18. * Braided leather (or cotton) cord, approximately 3mm (iin) diameter «Scissors = Cleartape * Hairdryer optional) = Cay shaping tool «Pine cleaner optional = Suetch cord, at least 0.7 mm Uéein) diameter: 72in. 60.4 em) Find out where to buy supplies, page st See Safety Basics, page 7 Learn fundamental techniques in ‘hese bonus tutorials: Rolling & using metal clay Using a tumbler 10 polish metal clay Liver of sulfur patina TS videos, wunwartjowslrymag.comivide 24 sora Jowary +2012 ‘the cord — should be cutallthe way ‘through. Ff needed, usea small at fle ‘or utitykrife to reestablish aclean seam. Wrap plece of clear tape four times around one of the cut ends [7a}. Repeat on ‘the seam end on the opposite side of the cutend you just taped (7b) Rall out£3 about 3g of clay to playing cards tm) thick, ling itn an elon- ‘gated rectangle. Use a tissue blade tocut a stip thats Vin. @ mi) wide and long enough to wrap around the base once. ‘Apply paste to one side of the tip, then wrap itaround the base; use the edge of the taped area atthe open seam as your guide, and wrap the strip directly on the ly, Cutoff any excess clay from ‘the lenath ofthe stip, and press the strip into place Allow the piece to dry to semi- dry. (You can use ahair dryer to speed the dying process) Placea second lin. 3 mm) strip next to the fist stp, this time wrapping over the tape (8) Repeat the process to place two Yin. {8mm day strips on and next tothe taped area ofthe opposite seam. NOTE: The strips don't have tobe pretty: youll cover them completely ater. [Add strips to define the bamboo joints. Roll out approximately 5 g of clay 10 4 cards (1 mm) thick. Cut a strip % in. {6.5 mm) wide and long enough to wrap ‘around the base. Apply paste to one side of the strip, then wrap it around the base ata random point, Cut off the excess, and press to in the ends together. Dry 0 at least a semi-dry state. Repeat this step as many times as you would like around the base [9) NOTE: There should be at least one ¥ {65 mm) strip on the opposite side of the ‘cut ends from the two Yin. (3 mm) strips {Ba}, and one ¥-n, (6.5 mm) stip on the ‘opposite side of the seam from the two “cin. @ mmm) strips (96), Cover the base and bamboo joints. Rol ‘out approximately 15g of clay to.4 cards (1 mm) thick in a roughly rectangular sheet. Cuta straight edge along one short ‘end of the lay. Apply paste to one fat side of the rolled-out clay Hold the base so thatthe cut ends face you. Line up the straight edge of the ‘olled-out clay sheet so that it covers the (3 mm) dty step that ison the taped section on the base, and the sheet extends over the cut ends [10]. NOTE: tis important that you cover Just the Yen, (3 mm) dry trip that is on the taped section, and not the adjacent ‘sin. (3 mm) dry stip thats directly on the lay. When the piece i fired, the tape ‘ill burn away, creating a narrower section ‘that separates from the Vici. stip over the ‘tape. This will allow the bangle to open and close. fyou cover both Yin. strips, {youll fire your bangle permanently closed, Use the sheet to cover the Yéin.(3 mm) dy strip, the tape, the cut ends, and the ‘cin. (6.5 mn) dry strip on the other side ofthe open seam. Pullor cut awiay excess clay from the end of the sheet, and setitaside, Use your fingers to blend the seam of the sheet and ‘0 smooth the ends ofthe sheet so that ittapers smoothly to the base, Press and shape the wet clay sheet down over the dy Yin, (6.5 mm) strip, Lightly press a shaping tool into the ‘wet lay to mimic the look of bamboo; avoid the area of the cut ends. Make one line around the center of the covered in. (6.5 mr) strip [11]. Dry to complete- ly dry. Repeat to cover and add lines to ‘the seam area, NOTE: For less distortion in your design: + Hold the bracelet and use a hair dryer toy ittoa semi-cty tate. Then place the bracelet ina dehydrator until the clay s completely dry + Only cover and work one section at atime; allow each section to reach a completely dry state before moving on. Roll outa second sheet of lay and apply the next cover, starting at one of the stilkexposed '-in. (3 mm) strips. Maintain alight opening between the edge of ‘the new cover sheet and the previously covered '4-in.(3 mm) strip [12]. Blend the ‘wet clay into the nearby dry clay, add lines {or the bamboo effect, and dry toa completely dry state, Repeat to add clay to ‘ach section ofthe bangle Once the bangle is completely covered and completely cry, use fresh cy to fil any gaps. Smooth the wet day then use the shaping tool to add details soit blends ‘well with the already cry sections. Dry completely, then file and sand the surface to your desired finish ‘Add bamboo leaves and branch details. Form a piece of clay the size and shape of ‘2grain of rice. Roll the clay flat, making sure the ends stay pointed. Create as many leaves as you would like for your bracelet 13}. Use paste to add the bamboo leaves Ina wetstate, working on ane section at ‘atime, allowing the clay to dry periodically so the leaves maintain their shape. The leaves will contour to the base. NOTE: Ifyou want the eaves to be raised from the base, setthem aside to dry completely before you add them. Use syringe clay to add lines for tiny bamboo branches. Use a craft knife to-cutin tle bamboo details [14]. Refine and fire. Dry the bangle com- pletely. Sand any rough areas, working until you've reached your desited finish, Place the bracelet in the kiln on a plece of fiber blanket Fire according to the manufacturers instructions. Let the bangle cool Finish and assemble the bangle. The cord and the layers of invisible tape ‘connecting the two halves of the bangle will have burned away in the kin, Pull your bracelet halves apart, and carefully brush the surface with a steel-wire brush NOTE: Do not bend your bracelet halves while brushing them. After you're done brushing, you should be able to slide the pieces in and out of each other easily. lf they catch, useaflle to smooth out any rough areas, “Tumbiel3 the bangle peces. Be sure toplace a pipe cleaner in both ends of each bracelet hal to prevent shot from getting stuck inside. you wish, you can patinate the bracelet halves with iver of sulfur after tumbling, String cord through the bracelet. String alength of stretch cord through both hhalves of the bangle [15] Pull the cord tight, then tiea strong knot, such asa surgeon's knot (right. Cutthe excess cord, and snap the bracelet halves together {16}. tt ‘concealed stretch cord allows the two halves ofthe bangle and falloff the writ. emwarienetyagcon 28 Grate threaded components to use in finished designs. by Wanaree Tanner This pendant was formed and fied inthree differentsectionsthe ‘ap with the mal component), the barel withthe female com- ponent), and the base. 2% in, (57mm) high, 26 Maroy Jomary 2012 solutions to ne of my favorite places to ponder creat construction problems is our local hardware store. This, threaded technique is the result of one of those hardware- store “Eureka!” moments. t occurred to me that | could use threaded plumb- ing parts to create threaded metal clay components, The thread components could then be incorporated into a design, providing an innovative way to connect two parts of a finished piece. ‘The pieces | used for this demonstration are rather large because | used CCOPPRClay and needed to compensate for its 20% shrinkage rate. You can practice using clays with lower shrinkage percentages and smaller couplers to make more delicate pieces. Prepare the clay. Knead 30 9 of copper ly into a smooth ball NOTE: You can incorporate litle water Cr olive oil into the clay [1110 prolong its ‘workability, Move through the steps as ‘quickly as possible until you have placed the clay on the copper plumbing coupler. Cut outa clay ring. Roll out the lay to at least > in. (10 mm) thick Use a tin. (25.5 mm) circle cutter to cuta circle from the clay. Remove the excess clay [2], Use 2 Yin. (13 mm ercle cutter to cut ‘hole inthe center ofthe clay circle ‘creating ating 3). NOTE: The seamless shape makes the threading smooth and prevents a seam from separating during drying and fring CCreate the female threaded component. Lightly spray olive oil over the threading (on the male half ofa copper plumbing coupler. Gently work the clay ing over the ‘male coupler, pressing the clay down over materials = Copper metal clay: 30g SEs tools & supplies ‘in adltion to "The Esenil etl ay Toolkit page 18. * Copper plumbing coupler, male and female:% in. (19mm) s Cicle cuter: in. 25.5 mm) iameter, sin (13 mm) clameter «= Graph paper ' Stanlss steel fring mesh = Tape Find out where to buy supplies, page 8) ‘See Safety Basics, page 7 Lean fundamental techniquesin these bonus tutorials: Rolling & cutting metal clay Clvideos, wwrmartewelrymag.comvideos ewmwaruoustytiagcom 27 how to make copper metal clay paste Start with a lump of copper clay that is about 5 g. Pinch off small pieces of clay and place them in ajar with a tightfitting ld. Spray water onto the clay to moisten 't-Put the lid on the container, then sett aside for 15-30 minutes. Remove the lid and use a palette knife or other stiff tool to stir the clay. ifneeded, add a itie bit more water. ‘Add a couple of drops of lavender oil to the mixture, Use the palette knife to mix the oll into the paste 9 ‘the threading [and squeezing the clay all around the coupler to prevent bunching and gapping [5].Set the piece on a mug ‘warmer until the clay is semi-dry (see the “Metal Clay Dryness" chart, page 7 NOTE: This half although formed on the male coupler, becomes the female half of ‘the metal clay coupler, The clay will shrink while drying Ifthe clay is left to dry completely on the male coupler, twill not shrink toa compatible size. Very carefully, unscrew the clay ring from the male coupler. Allow the ring to dry completely, Create the male threaded component. Repeat the steps to make a second clay ring. Lightly spray olive oil on the thread ing of a female copper plumbing coupler. ‘Work the clay ring inside the female coupler, pressing the clay soit takes the shape and depth of the threads 61. Set the piece aside to dry until semi-dry. Remove the clay from the female coupler and let the lay ing dry further unt itis completely dry 71. Size the threaded components. Care~ fully screw the male and female halves ‘together. Use a craft knife to score the im of the female half = in, (2-3 mm) taller 10 than your desire final height ofthe finding (8). Brace the mate half with your fingers and slowly unscrew the pieces, Be patient, and don't force the pieces. Use a craft knife to gently shave the clay away from the feral half until you reach the scored line [9]. Repeat to trim the mate half so it equals the height of the feral half, Refine the outside. Place the female half ‘on your work surface and assess the outer surface. If needed, trim or sand the surface of the clay until itis smooth. Be careful not 10 trim so much that you carve through to the threads A sarery Nore: some people find copper cay dust tating You may want toweara dust mask while sanding Adjust the height. Cutastrip of graph ppaper that isthe desired height of your finished component. Tape one end of the stip tothe female half, and wrap the strip {around the ring until the strip overlaps [10]. Make sure the graph lines line up, and use tape to secure the strip. Place a piece of sandpaper flat on your work surface. Working in a figure-8 motion, sand the clay down to the edge. of the graph paper [11]. Remove the graph paper, and screw ‘the two clay halves together. (Work slowly, s0 you don't distort or wear dawn any ‘threads, Sand the male haif even with the female haf (12). Your findings are ready to insert into your vessel, To create the pendant as shown, formed and fired the clay in three different sections: the cap (with the male component), the barrel (withthe female component, and the base. (For basic firing Instructions, see "How to Fire a COPPRclay Piece with Threaded Findings, sight) tt how to fire a copprcay piece with threaded findings For my piece, | used COPPRclay, which shrinks 20% when fired. Often, distortion will occur, particulary with larger forms. The distortion can be @ result of uneven kiln temperatures and carbon firing medium disrupting shrinkage ofthe form. My piece isa barrel-shaped vessel | used paste to place a dome on the top of the male half ofthe threaded component and to set the female haf ofthe threaded component inside the bare, then allowed the sections to dry completely.| made a second dome for the base ofthe vessel Prepare your firing pan and add the pieces. Fill your firing pan with 1 In, {25.5 mm) of carbon. Place the two domed pieces on top of the carbon, with the domed sides facing down, Set the barrel vertically on top of the carbon. Fill the firing pan. Place @ plece of stainless steel firing mesh cloth over the clay pieces to keep carbon from filing the barrel. Fil the rest of your firing vessel with carbon firing medium, Fire the pieces, Place the fring pan in the kiln on 1-in, (25.5 mm) kiln sts. Set the following firing schedule to ensure complete heat saturation: Ramp your kin at 1100°F (593°C) per hour to 1750°F (954°C); hold for 37 hours. ‘Assemble the pieces. After the kiln has cooled, remove the pieces from the carbon, but do not finish or tumble them. Set the lid of the vessel aside, and assemble the pieces that make up the vessel body. Overfill the oins with copper clay paste (see “How to Make Copper Metal Clay Paste, opposite). Allow the vessel body to dry completely. Fire the vessel. Place the vessel open-end up in the firing pan with the carbon stil in place from the last firing Fill the vessel with carbon to help support the Joined pieces. Add an additional 1 in. (13 mm) of carbon over the piece, then place the lid on the firing pan. Ramp your kiln 1500°F (816°C) per hour to 1700°F (927°C) then hold for 3” hours. Allow the klin to cool to room temperature. Remove the pendant. Finish the piece. Use 400-grit wetidry sandpaper to sand the joins smooth, Refine with 600-grit wet/dry sandpaper, then polish by hand or tumble. Leer) Penaeus Pu eeu) Cts used Leaf-Textured PINE Create a ring with a leaf texture anda comfort-fit band. Petco Leacn fundamental techniquesin these Bonus tutor Dee ee eee ear ea smoothing the seam without distorting the delicate Rolling & cutting metal clay Using a tumbler to polish leaf pattern, then getting the pattem tobe consistent (EREDY Cece ue oe Cone Ce ROE Lg Liver of sulfur patina COUR hc a aL Co Gee eWay ae Videos, wwerartjewelrymes.comividees Pee erred Prepare a ring mandrel. Place aring ‘mandrel into its holder or a bench vise so that you can work with both hands. Determine the sizeof ring you want to make, then adjust for shrinkage (see “The Shrinkage Factor," page 33).Cut a strip of flexible Teflon sheet. Place a small piece of ‘ape on one long edge ofthe strip. Place the strip on the mandrel so that one long, ledge is atthe desired size on the mandrel and the strip extends toward the smaller ring sizes. Wrap the Teflon strip around the ting ‘mandel, then tim itso that the short ends Just meet and do not overlap. Place a small piece of tape on the seam, and burnish the ‘tape smooth [1]. Any bump in the Teflon or tape will create a bump in your ring NOTE: You can create this ring in any width. Make rings 8 mm (isin) and wider an additional half size larger. Roll out thering base, Apply natural hhand balm or olive ol to your work surface and a plastic roller. Roll 25 g of cay in your hhands, then shape it into a thick, elongated snake [2] While maintaining the shape of the snake, roll it outE3 into a strip 6 playing cards (1.5 mm) thick. ‘Add the leaf texture. Place skeleton leaf high-relief side down onto the surface of the clay, with the main vein ofthe leaf centered down the clay stip [3]. Rell the clay to 5 cards (1.25 mm) thick, NOTE: Buy the largest skeleton leaves you can find. Remember that you'll be Using only the center portion and the overall size ofthe leaf might imit the sizes of rings you can make, Roll slowly, making sure the main vein stays centered in the clay strip. Don't worry lf the leaf peels away fram the surface in the ateas that you already rolled over. Remove the leaf from the clay. Gently liftthe top end of the leaf to separate it from the clay. Catefully remove the entire leaf leaving the texture behind (4). Ifthe cay lifts with the leaf, gently brush the surface of the clay with your finger to release it ‘Trim the ring band. Determine the width ‘of your ring. and carefully ola tissue blade. ‘While keeping the main vein centered in the stip, trim excess lay from each edge; keep the edges as straight as possible (5) NOTE: found that band widths under 3.mm {about “4 in) do notallow for enough leaf texture on each side of the ‘main vein to have a good aesthetic; my ring was 10 mm (¥4 in) wide before fring TIP: Add a handle te your tissue blade using two-part epoxy and two craft sticks. Apply adhesive to the craft sticks, add one to each side of the top edge of the blade. Allow the adhesive to cure before Using the blade. Neaten the edges. Place the edge of a ‘issue blade against the cut edge of the clay, then gently push inward on the band. Repeat for the other edge. 1 by materials 1 Metal cay = Lump dy:25 9 « Syringe clay {with 22 gauge/blue tip) ES tools & supplies ‘addon to “The Essent Meal Choy Toolkit“ page 18 s Ting mandrel and holder Ring sizer = Skeleton lef: 76-102 mm (5-4 in long © Largetip paintbrush 1 Needle les crossng ot halfround diamond «= fing pellets (optiona Find out where to buy supplies, pages! See Safety Basics, poge 7 mwarsmelnagcom 31 ‘Angle one end of the ring band. Using a tissue blade and cutting down at a 45° angle trim one short end of the ring band, creating an angled end {6}. Wrap the band around the mandrel. Place the raw (untrimmed) end of the clay strip on the mandrel so one long edge is at the edge ofthe Teflon at the determined ‘ing size. Carefully wrap the strip around the mandrel so the ends overlap {71 NOTE: Keep the edgesas straight as possible as you work so the pattern lines up. Don't stretch the lay; you want to ‘maintain an even thickness in your band ‘iim the raw end so that there is some overlap, ‘Angle the second edge of the ring band. Place the angled end on top of the raw end of the ring band, then use a tissue blade to {wim the raw end at amatching 45° angle. Gently bring the ends together to check for fit 8]; do not press. Make any necessary adjustments, but don’t trim the band so ‘much that the seam has a gap. Connect the ends of the band. Apply sytinge clay to each angled edge, applying atleast two layers in a zigzag motion [9 Gently bring the ends of the stip together, 32, MotatcyJowary «2012 and clean up any excess syringe clay that comes out ofthe seam [10] Allow the clay tory to semi-dry (see the “Metal Clay Dryness” chart, page 7} any longer and it vill shrink onto the mandrel, making it difficult remove without breaking, Remove the ring band from the man- rel. Carefully cut or remove the tape connecting the Teflon sheet to the ‘mandrel. Carefully lide the Teflon sheet, ‘with the ring om it, off the mandrel. Place therring band, withthe Teflon stil inside i, lonto a second flexible Teflon sheet on your ‘work surface [11 Allow the ring to dry to mostly dry. Remove the Teflon from the ring band. Pressing on the seam in the Teflon fold the Teflon sheet in on itself, slowly removing It from the inside of the ring band. Work carefully so you do nat disturb the seam inthe cay. Dry the ring to completely dry, naturally or on a mug watmet. Fill in any gaps in the inside seam. if you Used a mug warmer, remove the band and allow itt0 cool TIP: Allow any clay piece to cool before adding wet clay:a warm piece will dry wet clay quickiy, ‘making It difficult to work with, ‘Check the seam on the inside of the band, and fill any gaps with syringe clay. Use a paintbrush and a small amount of ‘water to smooth the wer clay into the band. Let the band dry completely [12 Sand the edges of the band. Place the ring band on a sheet of 600-giit sandpa- per. Corefully move the band in a figure-8 ‘motion to smooth the bottom edge. Turn the ring over and sand the second edge. Do not hold the band so firmly hat it collapses in on itself. TIP: Sanding in a figure-8 motion ensures you are sanding the piece evenly across the entire surface. Filln the outer seam. Check the outside (of the ring band for gaps in the sear. If needed, apply a small amount of syringe clay to the seam [13] Wait about 1 minute, then smooth the wet clay with your finger. ‘Move your finger straight down the seam rather than side to side so you keep the leaf texture intact. Let the clay dry completely. Refil and dry the seam again if needed. Once the seam Is clean, use a ‘tossing or half-round diamiond needle file 10 smooth it.Do not file ta0 much, as you need to maintain the lef texture [14 Create the illusion that the leaf vein is. uninterrupted. Use the edge ofa cioss- ing or alfround diamond needle file to deepen the main vein where it crosses the seam [15]. Sand the inside of the band. Use {600-grit sandpaper to smooth the seam onthe inside of the band. Fill any remain- Ing gaps with syringe clay, then smooth ‘ith a wet paintbrush Let the ring band dry completely, then sand it again and. repeat to add more syringe clay if needed, Create a comfortit edge. Use 600-grit sandpaper to round the inner edge, then the outer edge of the ring band. Repeat ‘with 1000-g1it sandpaper to smooth all the ledges (16). Check the surface of the ring Apply syringe clay to any areas that need filling, Dry completely, then sand again, NOTE: Brush the surface ofthe ring with 2 dry paintbrush to remave any lingering fine particles, Any particles eft on the surface may fire in place. Fire the ring band. Place the ring band in 2 pile of vermiculite so thatthe vermiculite ‘covers the lower third of the band. Or, place a ring pellet in the desired finished ring size into the clay band. Fire the ring according to the clay manufactures instuctions, Finish the ring. Brush the ring with a brass brush and soapy water, then burnish itby hand or tumble it(3for 2 hours. Polish the surface to achieve the desired finish, NOTE: While rotary tools will save time on polishing the inside of the ring band and ‘along the edges, use only polishing cloths 10 polish the leaf texture. The rotary tools vill wear down the leaf texture and ater the inal look of the ring If desired, apply liver of sufurE3 to therring to increase the definition of the leaf pattern. it the shrinkage factor Even before firing, metal clay ring bands shrink 2-39% during the drying process. All metal clays then shrink further during firing, (see the “Firing & Usage Charts,” ‘page 77). When creating a metal clay ring, you must increase the ring size to compensate for both shrinkage factors. Asa general rule of thumb, increase the ring size by 214 sizes for clays that shrink B-10% and by 314 sizes for clays that shrink 11-15%, When firing your clay ring, place itin vermiculite to prevent the shrinkage from exceeding what was anticipated. You can also use a ring pellet to (almost) guarantee the desired ring size. Ring pellets ‘are made from investment material ‘that can withstand the high temp- eratures needed for firing metal clay. When placed inside the ring bband during firing, they prevent the clay from shrinking beyond the size of the pellet. Commercial Jewelry suppliers carry premade ring pellets as well as molds and. investment for making your ovin, ow arsonetyagcom » i : with FreeForm Bezel-Set @lererantonn) sox Frame a dimensional design Cece ee 0 SPACeS anda oe Balt) Pe ®, és a ¢ eens - Tr) rr — he 2 - a y a . ba Pee ‘create the focal point of my pendant, | made a mold fram a photopolymer plate, then translated the design into clay. Cutting away the plain sections of the design gave the pendant a pierced look. Including 2 favorite opal cabochon required some advance planning, since opal cannot be fired in place. I formed a fine-silver bezel and added it to the pendant, then fired and polished them together. After the firing and finishing, | set the opal to complete the pendant. Determine the size and design of your pendant. Metal clay shrinks in the drying ‘and fring process, so you need to increase the sizeof the pendant you are making to ‘compensate for shrinkage. To adjust for the difference, create a sketch of your finished design and increase it by the appropriate percentage on a copier. Or, ifyou'e using a drafting template, choose the template of your desired finished size, then use a larger template based on the percentage of shrinkage. NOTE: Each brand of day has a different shrinkage rate. See “Firing & Usage Charts” page 7, or a guide, and check your ‘manufacturers instructions. For the textured design, you can either choose a manufactured mold or make a photopolymer plate (see “How to Make a Photopolymer Plate,” page 37). Choose a

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