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    Easy Metal Clay 2011

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    See TRS NA a aA ae A SPECIAL PUBLICATION ee THE EDITORS OF Metal we lay scot with stunning crystals, pearls, gemstones, dichroic glass, chain, wire, colorful ink 1OW-t0 no" LEARN TO MAKE: \ BRACELETS PENDANTS EARRINGS BEADS RINGS BAILS NECKLACES BEZELS ALL THE BASICS CHOOSE THE BEST METAL CLAY FOR YOUR PROJECT HOW TO GET MORE FROM YOUR TOOLS GEM SETTING INSTRUCTIONS bf Sharing your passion for making jewelry. Products. Service. Know-how. Go back to the Bronze Age. The time is right for bronze metol clay. Whatever metal prices are doing, BRONZclay™ is affordable and grea! fo work with, offering warm colors and rich patinas, And when you need your metal clay creations now, reach for FASTHire BRONZclay™—the wonder formula you can fire in under two hours. ame >}>Ya\\va ice - BRONZE IM ccleOa BRONZE Meta 35 Projects Sone se snonzey oom INGTON pRONzaly, of Bronze Metal Clay, who are here to help you through any ry Rio ron is ul of techicl expert ike Yonne, outhor yw {question or jevelry-making project. Call or go online today! 800.545.6566 riogrande.com ss Free cata BG & & THEStUdio Fes race by ‘wonne Mt Fadia Photo by: Nebula Company ee Bee De de OE eee Torch fre. Guick kre. Carbon fire. Ee ee Meee ee PMC Connection Reece ee Pea er) meme sere 3) = Me tal SS ( . CE FROM THE ly OF JAPIDARYJOURNAL EWELRY J ARTIST i CONTENTS Trom the Editor: ‘Try Something New! Gallery of Contributors VULTTUAUECT A UTEEUA EEUU TEETH EEA Metal Clay Basics it Werks, special Tips for Copper and Bronze Clays Expert Tips PROJECTS TOU EEUU EETA ATU ETE TEETH 28 Dangling Leaf Earvings 32, Champagne Cocktail Ring 38 Relie Medillion 43 i ain Earvings Bh 46 Claporos Leftovers Bib Necklace Betsy Lenndort 2 | SEWELRYARTISTMAGAZINE.COM 50. Sweetheart Pendant by Lis-el Crowley 54 Pebble Bead by Hadar Jacobson 58 Dichroic Mosaic Bracelet by Deborah Read 62 Shooting Sapphire Pendant by Tamora Henman 65. Lily Earrings by'Sara Jaye Cole 72. Basic Bezel Setting by Holly Gage 78 3Basy Bails iy Noel Yovovich 82 Squares in Circles Linked Bracelet by Kim Otteraein 88 Appliqué Ring eyes Fogo 92. Floating Bead Pendant by Holly Gage 98 Hollow Hexagonal Ring by Hadar Jacobson 104 Colorful Inked Earrings by Arlene Mornick NO Silver end Dichroic Glass Pendant by Linda Bernstein 114 Woven Cuff by Kathy St. Martin 120 Gradient Pendant bby Hadar Jacobson 126 Bamboo Earrings by Kathleen Bolan 132 Spinning Rings iy Jean Whittington HOUT UEEE EEE ETE ADVERTISING SECTIONS 137 Classifieds 137. Advertisers’ Index EASY METAL CLAY | 3 FROM THE EDITOR Try Something New! HOW OFTEN DOES A BRAND-NEW eraft medi- tum come onthe scene? Not very — but it’s happened tos. Metal clay isa dramatic, new, hybrid medium that in some ‘ways is like its parents and in others slike any offspring — displaying a distinct personality all ts own. First appearing about 1990 in Japan and introduced to the US. jewelry making world in 996 in a limited way, metal ©) elayisnow available in many forms and metals and from sev- eral manufacturers. In this special publication, you'll find clear explanations, demos, tips, and handy references about metal clay a8 well as jewelry-making projects — which you can replicate oruse asa springboard for your own creative explorations into this revoltionary medium, Metal clay consists of tiny metal particles suspended in a clay-lik, organic binder. You mold and fre tas you woulda clay, but when this remarkable ma- terials inthe kiln, the binder burns off and the meta particles stick together = leaving behind the clay’ form but onlyhe meal's substance. Form a ring out of silver clay and fre it, and you havea silver ring, pure and simple. Rich textures that once required many hours to produce by hand in jewelry made with metal sheet can now be worked nto metal clay in moments, Pat- tems from found or natural objects can readily be transferred to your jewelry ‘without expensive equipment. Components can be whipped into shape with: ont specialized jewelers tools, then assembled withowt soldering But i's not all about what you don’t have to do — it's also about what you can do, You can make large pieces of jewelry that are lighter in weight and more comfortable to wear than those made with sheet because the fired prod- ucts less dense, a result of the original separation between metal particles. Because the particles do move together and join, though, the material shrinks after fring — something you need to take into account forsiring and in some cases for durability aswell, but also something you can take advantage of ‘when setting stones. Set it upright, and as the metal slowly cools it closes in around the stone, securing tin place. You can make jewelry with nothing but metal clay, or you can combine it with wire, sheet, beads, crystals, found object, gems, and who knows what else, because the truth is we haven't even scratched the surface of metal clays potential yet. Artisans have been working and experimenting with traditional craft media for thousands of years, while metal clay has been with usa mere a couple of decades. ‘What amazing opportunites stil li ahead — what a great timeit isto be raking jewelry right now! Mwhiteainterweave.com Hh whe 4 | SEWELRYARTISTMAGAZINE.COM te Metalic ARTIST reiley re By metal Clay-artists M11) A187 Sophisticated projects with SOEs uu Wa Oks Vaan te aU es Vinternational artists’ gallery inovative techniques, [cele eto elo TCR SAT ACS RT Oar aEy and advertisers from around the world Poy re hee keer ee ae a 6 | JEWELRYARTISTMAGAZINE.cOM LIS-EL CROWLEY'S us Fine Silver Pendant pede gar EASY METAL CLAY | 7 Steel, copper, and white bronze metal cay i T Pend: PHOTO: HADAR JACOBSON 8 | JEWELRYARTISTMAGAZINE.COM. BETSY LEHNDORFF’S Earrit CTC ar onary Reo) ere fuses ols Prats ear Can) Weekend with the masters Get energized working alongside others who share your passion for jewelry design through: y + Intimate class size allowing for plenty of personal attention + Technique and skill development inthe handling of wire f crmetais + Exclusive project-based workshops offering never before seen EF lewelry pieces ‘em INSTRUCTORS INCLUDE: \ Susan Lenart Kazmer + Richard Salley * Kate Richbourg + Lisa Niven Kelly * Mary Hettmansperger * Kim St Jean * Linda Larsen * Janice Berkebile + Tracy Stanley + Jodi Bombardier Challenging techniques, compelling instructors, clever ideas and inspiration...Weekend with the Wire Ma truly a jewelry maker’s HROTVVT, | i AU je Ce elena REGISTER NOW AT ers is LONG JAW, 1.5MM HOLE BE SIE RIVETING PUNCH PUTO eg Tua am ES ea fal NN umcoRe cast bo Sn Cae ae | donc ardinesttigens cine ee Nee hoe hing kota ea eh aor a Pacey eesti} be aoa eM atMNe Alagoa cola ae) co PAG) Erte eg MICU Gauge Guard”, which ensures a hole Panett exerts oleate eu aera Neen ag ea Og Saran CMAN Ana ae Tee 1.25MM & 1.8MM_ pea 0)) ets tty lod eee aL = periacareseetiesony RS anos Lie clatter’? BEAD SHOPS:To become a Beadsmith distributor, please Contact us at 732.969.5300 or wwwbeadamaith.com 12 Metal Clay Techniques What can you do with metal clay? Just about anything you can do with metal fabri tion techniques — without the soldering, Here are more WORKED LIKE CLAY cutpure meta ater sring, meta lays are a new and unique medium introduced in the mid 1990s. Since that time, interest in metal clays has done nothing but grow. The number of classes, workshops, books, and DVDS on its uses increases every year, and the forms and metals available has constantly been on the rise as well. Metal clays do not replace such traditional methods of jewelry making as fabrication or wax working, but they do offer an additional, often complemen- tary, and intriguing way to produce metal jewelry. ‘Why Metal Clay? Metal clays are popular for several reasons: ease of learning and use, low cost, and speed in finishing high among them. Let's take a look at how this isso. + Eaty trantition from other clays. Metal clays make an easy transition for those who have worked with clays before but don’t have any metalworking experience. Metal clays can be modeled by all the same methods as modeling ceramics or polymer clay. The feel, says Jackie Truty, President of Art Clay World USA, Is much like porcelain clay. California metal clay artist Hadar Jacobson, who manufactures her own product, Ha- dar's Clay, likens the feel to Silly Putty. + Low cost of material. Metal clays are relatively low cost. If you make a mistake, as long as the clay has not dried out, you can remoisten and rework it, whereas any serious mistakes made intraditional jewelry metal have to return to the refiner. + Low cost of tools. Tools and equipment are also relatively low cost, as long as the clay does not require kiln firing, + Easy to learn. The learning curve is fairly low. Although you may have a few failures, as when learning anything new, you can be reasonably successful with metal clay ina short period of time. There is no learning to solder, no learning to sprue, invest, or cast. 3 + Easy effects. Some metal working techniques are much easier to achieve in metal clay, such as overlays on glass ‘or glazed materials, fold forming, or the creation of a mokume gane look. All kinds of textures can be produced more easily. ‘And some things can be done with clay that ‘cannot be done by traditional methods at al + Easy stone setting. A number of synthetic ‘gemstones can be set into the clay and fired in place, although you must be careful to select stones that can withstand the heat of fring, + Fast work. You can have an idea for a piece, make i, frei, finish it, and wear it within day, says Washinaton metal clay artist and PMC senior teacher, Ruth Greening. As with any medium, metal clay lends itself reacly to some treatments and not so readily to others. "Some people think metal clay is easier than traditional metalsmithing,” says Jacobson, "but it depends on what you want todo with it. f you want to go deeper, or into a higher level of professionalism, it's harder.” If you're @ hands-on, DIY kind of learner, you can learn to work with metel clay. There are many videos, books, and online tutorials available, with lots of great tips. You'll re- duce your learning time and discover great shortcuts and tips, though, if you take a few classes with instructors who use different products and techniques. than a dozen ideas to try. ‘Sculpture 2 Origami or paper folding 3 Applique 4 Wood grain effect (an easy version of mokumé gan) 5 Color gradient 6 Braiding Weaving 8 Bead making (using a cork clay or paper clay core which burns out during firing) 9 Knitting (lexible clay from Hadar’ regular clay mixed with alycerin stays flexible even after it's dry so you can braid, weave and ‘even knit" the clay betore firing, see Handbook of Metal Cay: Textures and Forms by Hadar Jacobson) 10 Fire gemstones (primatily CZsand other synthetics) in place MOveriay glass or ceramics with metal 12 Replicate organic forms (Use paste, syringe, oF sip over any organic form, such as leaves — even Cheetos or Cheer = that will burn out during fring Just leave ‘an opening so you can rinse the ash out of the form. Do not fre pa however) cs, EASY METAL CLAY | 13 What Is It? Metal clay is composed of microscopic particles of precious or non-precious metals, suspended in a pliable, organic binder. The particles may be of different sizes: lerge, large and medium, or lerge, medium, and small. The smaller the particles, the more dense the clay is and the faster it fires. You can work metal clay similarly to ceramic or polymer clay. Like ceramic clay, metal clay's water content keeps it pliable. Unlike polymer clay, you cannot work metal clay indefinitely. It dries out fairly quickly and begins to crack Ifyou have other metal working experi- ‘ence, you'll appreciate that metal clay also has its differences from and similarities to traditional metal forms. When you hammer or solder metal wire and sheet, it’s impor tant to know what's happening to the metal at a molecular level, When casting, you have to think like molten metal in order to sprue correctly for a good casting. And when you work with metal clay, it helps to understand that, although its clay first, itis a weak, porous collection of metal aranules after, the binder bums off and it’s sintering, and itis metal with unique characteristics after i’ fred, How Does It Work? In the initial stage, metal clay can be worked, formed, molded, and sculpted ‘while moist, right out of the package or freshly made up from powder. Depending ‘on the type of clay you're using and your environment, the open or working time is only about 15 to 30 minutes, You can extend, that by keeping the clay moist while work ing. And you can dry pieces and join them later with metal clay paste. When it's dry on the outside but still 2 bit mo'st on the inside, it becomes what's called leather hard. Although it’s fragile at this point, it can still be carved or detailed, ‘When completely dry, in the greenware stage, metal clay is curable enough to han- dle though not indestructible — its stil clay, not metal. At this stage, your piece should bbe gently sanded and filed to remove all unintentional marks. This helps reduce the ‘amount of finishing necessary after the piece is fired. ‘Once campletely dry and finished, metal clays are fired to burn off the binder and to fuse, or sinter, the metal particles. Burning off the binder causes the clay to shrink, but different clays shrink different amounts, ‘Then the metal granules sinter or fuse to 1d | JEWELRYARTISTMAGAZINE.COM forma solid metal. it's during this process that the piace is at its weakest: it's no longer clay and not yet one piece of metal. Pieces that are not well designed, are too heavy for their thickness, or not prepared for this transition, can crack or break, Learning te think through this stage is where an experienced instructor can be invaluable, This stage is of great- est concern if you fire a copper clay on an. ‘open shelf, then have to transfer it to carbon, granules for the second stage of the firing. High temperature clays, large pieces that weigh more than 25 grams or are bigger than a silver dollar, and most non-precious metal clays must be fired in a kiln. Many low-temperature silver clays and Art Clay Copper can be fired with a butane torch. Art Clay silvers can even be fired ona gas stove top. There are also a number of other firing options available, which we'll get to soon. Aftor firing, the metal bears the mark of its unique genesis. "The metal is not as smooth 1s sheet metal because of the shrinkage and porosity,” says Jacobson. Ata microscopic level, ithas a "tooth" or nap-ike texture cre- ated by the spaces between granules left by the binder. The surface must be closed up bby burishing by hand or tumbler, or with a brass or steel brush. "It's like stepping on the grass," says Greening, Many artists like to tumble metal clay pieces to work-harden them a bit, then finish with power-driven ‘metalsmithing equipment. Others prefer burnishing and sanding by hand, Be sure, says Tammy Honaman, jewelry designer and online host of Fire Mountain Gems and Beads’ "Ask the Experts,” that you're really ready to finish, however. If you are going to add gold accents or enamel, any finishing may dirty the surface; you may need use the pristine piece just as it comes out of the Kiln. Follow directions for your next intended process carefully While you can solder components onto the metal clay after it’s fired, there are any number of findings, such as bails and bezels, that are made to be affixed to the clay and fired in place. Which Metals? The first metal clays were made of fine (pure) silver. Because these have been ‘around the longest, and their working and firing processes are well documented and dependable, these are stil the preferred ‘metal clays for many artists. Silver was fol- lowed by gold! clay which can be used just If you're a hands-on, DIY kind of learner, you can leam to work with metal clay. like silver clay, but now, because of gold's high cost, gold clay is used primarily for ac cents on silver using a technique that is de- rived from traditional keum-boo accenting. As precious metal costs have soared, so has interest in non-precious metals among jewelry makers, and metal clay artists are no exception. There are several bronze and copper clays now on the market. (At this point, there is no brass clay. Bronze clays are true bronzes, made of copper and tin) ‘Though there are a growing number of ‘metal clays on the market, we're only going to look at four manufacturers here: Precious Metal Clay, which offers several different silver recipes and one for 22K gold; Art Clay, which offers a variety of specialty clays in silver as well as gold and copper; BronzClay and CopprClay, which were introduced by Metal Adventures; and Hadar's Clay, de~ veloped by metal clay artist Hadar Jacob- son who, fascinated by the possibilities of combining metal colors, developed her own copper, bronze, white bronze, steel, and pearl grey stee! clay, An internet search also shows metal clays by these manufacturers: Metal Mania Metal Clay (metalmaniametalclay.com) makes copper and bronze metal clay in powder form, as well as GlasClay. Prometheus from Turkey also makes bronze and cop- per metal clays as well as kilns. Search for Prometheus Metal Clay” to find suppliers. Michelle Glaeser has introduced her own rose gold metal clay recipe (etsy.com/shop/ mfglaeser), There is also a bronze and a copper clay called Meteor, available from France (meteorclay.wordpress.com), What Forms Are Available? Metal clay products differ not only in the final metal they produce, but the forms in Which they're available. The primary differ- ence is in how moist and pliable they are + Block. Most clays come in a solid block form. Simply cut off what you want to use, seal the remainder tightly in the package, and store carefully according to the manufacturer's instructions. Keep scraps and trimmings in the package as well, Bricks or blocks of clay are best for modeling, molding, sculpting or carving + Syringe. Next in density, clays suitable for Using in a syringe are moister and used to create lines or wires for patterns or filigree. Itean also be used to fil cracks. Siow drying formula clays in syringes are good for braiding or weaving = Paste, These clays are moister yet and are used to repair clays or join clay pieces together. + Slip. Keep small dry pieces of clay and filing dustin a separate air-tight container These can be mixed with water to make your own. slip for sealing or filing cracks or joining piocos, + Sheet. Originally developed for origami for the Japanese market, sheet form metal clay can be used to create flowing sheet-like forms, folded like paper, or punched and pierced like paper. Small shapes can be ap- pliquéd to other work, and you can laminate sheets for thicker sheets. Use small amounts of paste to glue pieces together, not water. Very dry and very water soluble. Do not ceverwork and do not allow to dry complete- ly before firing or it can crack. +Powder. Metal clay that comes in powder form is mixed with water to whatever con- sistency you need. Shelf life is indefinite as long as you keep the powder dy, SOhs The Arts & Creative Materials Institute The Arts & Creative Materials Institute (ACMI) was Founded in 1936 to help members — art and creative ‘material manufacturers provide non-toxic products tothe public, particularly to children. A team of toxicolo- 1oks at products with Fegard to each ingredient and its quantity; possible adverse interaction with other ingredients; its size and packaging; potential fe and chronic harm to any part of the human body, possible allergic reactions; and how a product is commonly used and misused. Today the ACMI has more than 210 members, and ofthe 60,000 products they have evaluated to date, 100% of the children's products and 85% of those ‘meant forthe adut artist are certified as non-toxic. For ‘more information, go to the ACMI website at acminetora, EASY METAL CLAY | 15 Kang Sura $ method of firing (kiln or torch or both); and density after firing. However, each manu facturer has a different focus that separates them from the others. The brand and form of metal clay you use depends on what you want to accomplish with it The differences among products from dif- ferent manufacturers in binders, structure, or shrinkage may make products incom= patible, but not necessarily. IF you want to mix clays made by different companies, run tests on compatibility before committing to a final piece—and keep careful notes on everything you do. “PMC. As the name implies, Precious Metal Clay or PMC specializes in the precious met- als: silver and gold. Their newest clay, PMC Pro, contains 90% silver and 10% copper to produce a sterling-like silver that is harder ‘and more durable than fine silver after firing, + Art Clay has developed a wide range of, specialty clays, Slow-Dry clays have a three to five times longer open time, depending ‘on the environment in which you're working, letting you braid or weave the clay. Overlay Pastes are used for repairing fired pieces, for firing silver over glass or glazed ceramic, working with a sgrafitto technique, or as an intermediary that allows gold paste to be torch fired to siver. Most of Art Clay's metal clays are certified non-toxic by the Art & Creative Materials Institute 16 | SEWELRYARTISTMAGAZINE com Both art Clay 650/1200 formula and PMCs are low fire clays that allow artists to com- bine glass and ceramics with metal clay without risk of damaging the underlying glass or ceramic, and without the yellowing of glass that occurs when itis fired at the higher temperature required by standard silver clays. + Metal Adventures manufactures BronzeClay ‘and Copprciay, non-precious metals that allow artists to work with a variety of colors and less expensive metals. + Hadar's Clay, by Hadar Jacobson, focuses ‘on non-precious metals because, she says, she is "all about the color.” Her clays include copper, bronze, white bronze, steel, and pearl grey steel. Because itis sold in powder form, Hadar’s Clay does net contain presor- vatives, explains Jacobson. Note that while silver clays (and gold in some circumstanc- (5) can be torch fired, most non-precious metal clays must be kiln fired and require special handling, Firing: Kilns ‘While the basic tools you need to work metal clay are fairly simple and inexpensive, to ensure a successful product, itis vital to heat metal clays to the correct temperature {and hold it for the right amount of time. So the most important piece of equipment you need to work with metal clay is the firing method, which can be expensive, The first and best firing method is a digi= tally controlled electric kiln — an infinity switch with low, medium, and hot settings does not give you enough control, Digital controls allow you to program the kiln tem- perature and hold times, Kilns can be top loading — most often used for glass and ceramics — or front load- ing, most often used for enameling, Kilns built of kiln brick take much longer to heat ‘and cool down more slowly. Kilns that are bouilt of muffle fiber have electric elements ‘embedded in the walls, and both heat and ool more quickly. If you're going to invest ina kiln, talk to other metal clay people and kiln users and do your research. Most non-precious metals, and PMC Pro, which contains copper, must be fired in car- ‘bon granules in a kiln, and require fireproof containers (such as a stainless steel firing pan), plus screens, supports and other tools to hold pieces in place and ensure good heat circulation. ‘Asstandard kiln can run more than $500, With a simple butane torch, which reaches temperatures close to 2000° F, you can fire a piece in minutes rather than the hours it takes to ramp a kiln to temperature and hold until sintering takes place. though there are some smaller, less expen- sive kilns on the market, Altematives such as the Ultralite Kiln, which runs on electric- ity, the Speedfire Cone system, which uses a propane canister, and the Hot Pot, which runs on alcchol-gel, can be used for small silver pieces, and cost between $150 and $300, However, while the Speedfire has a pyrometer to monitor temperature, the oth= ers do not. They cannot be used with large pieces, or those set with glass or stones. Clays that require a very precise firing schedule may not work consistently with these systems. Always run a test first Firing: Butane Torch If you are working with silver metal clay, there is an even less expensive firing alter- native, With a simple butane torch, which reaches temperatures close to 2000" F, says Truty, you can fire a piece in minutes rather than the hours it takes to ramp a kiln to temperature and hold until sintering takes place. When Truty demonstrated torch firing metal clay on Jewelry Television, she says, "People went nuts. They realized that it was doable at home." There are limitations to torch firing, however. You cannot torch-fire copper, bronze, or steel—with the exception of Art Clay copper, which is designed for torch firing. Your torch’ flame must be large enough to cover the entire piece at one time, because uneven heating will cause the piece to crack. Torch fired pieces can be no more than 25 grams In weight or no more than the rough size of asilver dollar, if you remember those. Larger pieces must be kiln fired. You use visual cues to temperature when torch firing. Pieces must come to a dull red, which is seen best in a dim room. A bright light can obscure the color and result in an overheated piece and a silver puddle. Once the piece reaches a dull red, you start atimer and keep the piece dull red for the right amount of time, usually a few minutes. AAs the binder burns off, you may see a flash of fiame. Experiment and Keep Track Whenever you work with a new product —a different form of clay, size of piece, or kiln —do some research online first. Artists such as Hadar Jacobson, Tonya Davidson (wholelottawhimsy.com) and Tammy Hona- man (via Fire Mountain Gems) make public the results of their testing and may have ‘great insights and tips. Leam from them, and then make a test run ‘of your own and document your results. You may have to adjust your handling process ‘or firing schedule according to what you discover. Careful records make it easier to troubleshoot a process that goes haywire. And if you are experimenting, notes male it possible to chart 2 path into the wilderness. ‘There may be no one clay that will do everything you want it to. Choose a cay to start with based on how you like to work, and learn all you can about it. Most manu- facturers have a lot of information on thelr ‘websites and there are a lot of independent artist reports on blogs. Then take a class or ‘two focused on a particular brand to be- ‘come more “fluent” init, to understand its unique characteristics and tendencies. And whatever you do, relax and have fun SPECIAL THANKS TO Jackie Truty, president and owner of Art Clay World USA artclayworld com); Ruth Greering, metal clay atst andi cort= fied PMC instructor cuthgreeningdesigns.com® Bill Stave, owner of Metal Adventures and devel- ‘oper of BronzClay and CopprClay cbronzelay com: ‘copprclay.com); metal clay artist anc metal clay manufacturer Hadar Jacobson (atinsivercomy: and Tommy Honaman, Jewelry Designer and online host (0 Fire Mountain Gorrs's "Ask the Experts’ (Fre- rountaingers.con for bringing me up to speed on the basies of meta clay SHARON ELAINE THOMPSON , has writen fr Stherisstene eharonelanetnompesn cam {neve can be ond usual is tolh rower 15+ Basic een) — eee a pe eet the: ee + Rolling tools, non-stick Se eed ete Pear eer oor ren) ene ieee eee still use them) Sec See pecans can give youa start) cee aoa eres cree Seno) other tools you might Cee coe res eee ee en Scot Ce ec Ptort eee pin vise, engraving to extruders, embossers cetera) Sere Poe the quality of the final ees ns Peet eee ren cea kind of clay. Other artists en Soot es es oa EASY METAL CLAY | 17 psy: (ets) ee is RAT) raed 7 Special Tips for Copper and Bronze Clays ‘The warm colors of copper and bronze make them attractive as jewelry metals, With the cost of precious metals — even silver - heading skyward, some makers turn to copper or bronze clays as a cheaper alternative, While the initial cost of the clay may be less expensive, they can be tricky to work with. Keep these tips in mind when working with most copper-containing clays, Including bronzes (bronze being an alloy of copper and tin) + Fire in carbon granules. When heat- ed in oxygen/air, copper oxidizes. Oxidation Impedes the fusing or sintering of the metal molecules in the clay, causing the firing to fail, Yet for the binder to burn off, oxygen must be present, What to do? The solution is to bury any copper-con- taining metal clay (including bronze clays and PMC Pro) in carbon granules during firing. During the first part of the firing process, the metal is heated enough to burn off or vaporize the binder. Then you need to cover the container with lid, and raise the temperature to the final firing temperature. At the higher tempersture, the carbon burns off, using up available oxygen, and the metal sinters, Each manufacturer has thelr own recom= mended firing schedule and process. Follow their instructions carefully. Art Clay Copper is formulated to fire on an open shelf, and to allow torch firing. Although it oxidizes, says Jackie Truty, quenching the hot piece inwater removes most of the oxidation, and ‘warm pickling removes the rest. 18 | JEWELRYARTISTMAGAZINE.COM + Use the right carbon granules. ‘There are two kinds of carbon granules required: coconut shell-based or coal-based carbon. While coconut shell-based carbon can be used for both copper and bronze, coal-based granules can be used only for coppers. Coal-based carbon can leave a beautiful patina on the metal from gold to niobium-lke rainbows. Be sure to follow the manufacturers’ recommendations on which carbon to use, + Good temperature control. when using BronzClay and CopprClay, it's impor- tant to first test the accuracy of your kiln’s temperature control, as the temperature Inside the kiln is not always the same as the digital readout, says Bill Struve, president of Metal Adventures who developed the material. Always fire a test strip before ‘committing to a project, (See Rio Grande’s ‘website bronzclay.com for full details on firing BronzClay and CopprClay and on test- ing the temperature of the kiln) * Thin pieces. Bronze especially is very heavy and strong, so pieces should not be more than a millimeter or so thick. + Start small. This strength is a double- edged sword. Although inexpensive bronze and copper clays may tempt you to work larger, once the binder burns away the piece is weak until its fully sintered. This means that during sintering, large pieces can slump and hollow pieces can crack, While expe- rienced metal clay artists can make large pieces, says Struve, in the beginning, keep pieces to less than two to three inches in overall dimensions and fairly thin Be patient with yourself. Because copper and bronze clays are relatively new on the market, artists are stil earning the best ways to work with them. Success can be affected by how much carbon surrounds the piece, what the box is made of, how big your kin is, where you put the pieces in relationship to each other in the carbon, and the sizes of pieces you fire together. Asa result, copper and bronze clays may have a bit steeper learning curve than silver clay. a good notes. While you're learning, or when you begin to try things that are not “in the book,” keep very careful notes about the materials, procedures, and ‘conditions under which you make a piece. Even tweaking small things — where you put the carbon box inside the kiln —can make a difference. ‘Although copper and bronze clays can be tricky to work with now, says Tammy Hona- man, “| have faith the products will continue to evolve. When PMC standard first came ‘out, it wasn't always successful.” But now after 10 years of experimentation, docu- mentation, and teaching, using silver clays is almost bullet proof. PHOTOS: METAL CLAY MANIA EASY METAL CLAY | 19 17 Expert Tips ase 0; ART een’ §9900 = Doing anything new can be and usually is both rewarding and frustrating To help keep your experience more on the rewarding side, keep these pointers in rind, Keep track of time. Metal clay has a water content that Keeps it pliable. it tends to start drying on exposure to air, although ‘open or working times vary with the clay ‘and where you live: folks in the wet North- ‘west can work clays longer than those in the ry Southwest. On the whole, you can work standard clays up to about 15 minutes; slow dry formulas may give you as much as half an hour before showing signs of drying, ‘Slow down the drying. Because metal clays start drying on exposure to air, do ‘what you can to slow that down and keep your clay pliable longer. Work in a draft- free environment. Avoid tools or working ‘surfaces that might absorb moisture from the clay. If you get up to fetch a tool or an- swer the phone, cover the clay with a moist paper towel or plastic wrap to keep it moist. Before you bagin working, be sure you have everything you need close at hand so you can work without stopping. Bibra Nest ox rah te oly ity with water to keep it moist. Dried clays may be rehydrated by working water into them, but getting back to the original con- sistency may be difficult. ‘Save scraps carefully. As you trim pieces ‘of metal clay away, put the scraps back Into the package to prevent them drying out If they get too dry, keep them in 2 separate container for rehydrating later, or converting them to slip. Store clays to keep moist. Store metal clays tightly sealed in the original pack- age or wrapped airtight in plastic wrap, Put that into an airtight container with a damp 20 | JEWELRYARTISTMAGAZINE.COM sponge. Store most clays in the refrigerator between uses. (Check with manufacturer for storage specifics.) ‘Store powders dry. Powdered clays, such as Hadar Clay, require mixing with water to the right consistency. Shelf life is indefinite, but be sure to keep the powder absolutely dry unti use. Olive oil for your hands. A light coat of olive ollor olvecitbased hand lotion on hands prevents the skin from pulling moisture from day. When drying, dry thoroughly. Except for paper-like sheet clays, be sure to dry clays, especially slow dry formulas, com- pletely before firing. Moisture in the clay can cause the piece to crack during firing, as the outside of the piece fires and shrinks before ‘material inside, Use coffee-mug warmers, hair dryers, hot plates, or food dehydrators to dry the clay before firing, or simply air dry. Heating to more than 450° F can cause binders to begin to burn off, altering the ap- pearance and processing of the clay. Clean up anything you can before firing. Clay is easier to finish then metal, so clean up ragged lines and edges, and ‘smooth surfaces in the leather-hard stage or the greenware stage. If you're a metalsmith accustomed to wax carving, remember that ‘as with wax, everything you see in the clay will appear in the metal 10 Rares: Despite the expectations of many new users youllstillhave to do some finishing after f- ing bumisting, sanding, tumbling. or patinating. Follow the r er! 3. And | mean very carefully. Be sure you understand the characteristics of the product you're using. Some e inter- mixable. However, different manufactur ers use different binder formulas and their products may not be compatible. Accommoda age. When ‘combining clays, be sure their shrink age rates are the same to prevent cracking, Shrinkage is a consideration, too, when adding findings to clay: you want them to be where they're supposed to be after firing our metal. Silver clays are relatively easy to work with in terms of joining pieces and repairing them, and firing. Copper and bronze clays may be dif ficult to join, requiring a heavy slip and scor ing of the clay to make sure pieces bond All non-precious metal clays but Art Clay's copper clay, which can be torch fired, need to be fired in carbon ina kiln o Not all gemstones can fired in place. CZs and some Make Amazing Metal Clay Jewelry Tools, Projects, Videos & More! LOIS COOL TOOLS other manmade gemstones will ake the heat; some clean, untreated natural stones can also be used. However, aways run any gemstone — even synthetics —through the kiln alone before firing in place to be sure there is no strain or other peculiarity in the stone that might cause breakage. lay for glass. High-fire clays, ‘do not fire well with glass: the glass can slump or distort, and where the silver touches it, the glass can discolor. Use low-fire metal clays when firing with glass. pla st. Spend as much time ‘thinking about your process — start to finish — as you do thinking about your design, says Tammy Honaman. What tools you need, what construction method will ‘work the best, and how youll counteract the effects of your environment: Match your clay to your project. If you have questions albsout which firing method or clay produces the most durable piece, and durabilty is vital to you, make your own test runs, NT CL) aed cooltools.us 888.478.5060 EASY METAL CLAY 2 Teach Your Old ; Tools New Tricks Jewelry or household tools that make using metal clay easy BY HADAR JACOBSON 22 | JEWELRYARTISTMAGAZINE.COM. WHEN I CONVERTED woemc:atter years of practicing traditional metal fabrication, | was left with a lot of tools that | didn’t know what to do with. Being crazy for tools, especially small, low-tech ones, | wouldn't give any of them away. Over the years | have found a use for some of them with metal clay, while others are still waiting for their calling. Anybody got an idea what 2 drawplate can be used for in PMC"? | routinely use regular jewelry-making tools: saws for sawing tubes, files for carving and enlarging differently shaped holes, sponge sanding pads to smooth out surfaces, a hand drill and drill bits to start holes, and diamond bits to carve lines and grind off dried clay. Here is a collection of short but sweet suggestions for repurposing your traditional jewelry tools for use with PMC*. However, not all of the tools I use were originally designed for jewelry making. Here's a dozen of my favorites. sources Most ofthe metal cay, Clay- working tools, and other tools and material inthis article wale avaiable rom wel stocked met cay ad jeselry supply vendors, many of whom ne found nour Advertise Index on poge 1 GEESE vy tavorite tool is the dom- ing block, also known as a dapping block or dig, This one is the smallest | could find, less than 2" in diameter, and made of brass. I's not the strongest for doming sheet, but per- fect for making small PMC" half-balls. | fill the block's cavities with clay unti flush with the surface and let them dry. After evapora~ tion, the clay shrinks a bit and comes out easily, resulting in a smooth, perfect half= ball. These are preferable to whole spheres, because a larger contact area bonds better with the surface of a piece, and is less likely to detach in the finishing process. Tiny half balls can also be used to simulate rivets, screws, or granulation. FREEMIER costing grains can be used as laboratory grown cabochons that canbe fred inthe kin. Press thom into the wet cay unt theirtopis fish with the surface, otherwise they will detach, The grain wil rise above the clay surface during fring, | have used brass, bronze, or copper casting grains, but gold under 22K is not recommended. | keep drinking straws of all sizes for making tubes of various diam- eters: coffee stirrers, cocktail stirrers, soft drink straws and coffee-shop straws. Soon, metal clay artists will no longer have to depend on straws, because | have partnered with Mardel Rein at www.cooltools.us, to develop "Hadar’s Tube Extruder” a new tool which should soon be on the market. It will be able to extrude tubes of different diam- eters, for bails, hinges, etc, and you will be ‘able to make them ahead of time and have ‘them ready for use when you ere working, on a project. (RMIT Turkey acers, those needles Used to truss up the holiday bird, make good needle tools. Find them in the gadget aisle at ‘any home kitchen or restaurant supply store. EASY METAL CLAY | 23 | have found an apple corer can be used as a forming tool. Roll a snake, push it all the way down into the apple corer, and pull it out. You'llhave a perfect, hhalf-round “wire.” Wrap this around a straw to get a hall-round bead, or around a bigger cylinder to get a half-round ring ke to eat Baby Bell or Gouda cheese? Save that highly soft and malleable vax coating, Shape the wax nto any form, and wrap it with a metal clay layer. Hound this wax tobe perfect fr free-form beads, but be sure to let the piece dry at room temperature, Drying iat higher Temperatures may cause the wax to melt and spill on the clay before it hardens. When fied, the wax inside the clay will bun out, or you can meltthe wax witha candle before firing a dried piece and pour it out through ahole in the shape, PREEVELIIGIA tool | can't do without is a cone-shaped clay shaper, which | use like an extension of my finger, It has the same tex- ture as skin and reaches into very tiny spots. ‘The specific shaper | use Firm, tapered, size 0) is expensive and hard to find, so I'l often supply my students with a pointed slicone polisher for flexible shaft machines, or with a ental pick known as 3 gum stimulator, av able from any health and beauty aids suppl er. If vou don't want to buy the entire dental tool, you ean mount the readily available refill tips on a wood stick. 24 | JEWELRYARTISTMAGAZINE.cOM CESSES y drugstore favorite is the Salon shaper. Originally designed as a nail polisher for faux nails, it runs on two AA batteries. As | can't leave any rotary tool alone, I've experimented and found that a certain brand of this product (Google™ "sa- Jon shaper” and look for “As Seen On TV") will fit a 3/32” shank bur or mandrel. | use it to mount a diamond-plated bur and can enlarge holes in dry clay or engrave deep lines with it. This tool is not strong enough for finishing fired metal clay, but it’s ideal for small jobs on unfired clay. Just hold it in your hand like a pencil SQM Hairball covered button blanks are usually used with decora- tive fabric and sewn on garments. I've found that they will cut wonderful, serrated edge circles and come in several different sizes. | use them for cutting "gears." As acompulsive catalog reader, both online and printed, lam always on the lookout for new uses for traditional tools or ways to make tools from the unexpected (PREETI he decorative bob- bins used forlacemaking will make beautiful molds. Since they are usually made of wood, I cover them with plastic food wrap. Encase them fully or partially with a layer of clay, and when it's dry, cut lengthwise with an Xcacto’ knife, Carefully peel off the clay and reseal the joint. Use standrd PMC, since PMC Plus" and PMC 3" are not very flexible and may break when peeled for unorthodox tools is the hardware store, more specifically, the plumbing department. PVC pipes make good rolling pins, but cop- per fittings are priceless. | |ove to integrate copper in my jewelry, and thisis the place to find solid copper items, as opposed to the copper plated kind often sold in craft and hobby stores. Plated parts will lose thelr copper color during firing. | se copper fittings such as T-joints, as well as coiled copper tubing, often Red Agate Neckiace, PMC", red agate, and rubber cord sold by the foot and in various diameters. | cover the tubing with clay and fire with a torch. For this application, | use PMC#, since standard PMC will shrink too much and crack. To remove copper oxides, quench the piece Immediately in water while hot. PEERS the ast toolinmy armory was actually designed for use with ‘lay; oval cutters, The cutting edge of the tool is oval, but the top (the part closer to the spring) is round, This makes for an unusual shape. Instead of using them for cutting have used them as molds, and to make these funny earrings (above, at right). ‘When | need an outing, new ideas, or time away from the studi, first visit the recycle store (my favorite), then the craft store, then the hardware store, and finally the drugstore. And, as 2 compulsive catalog reader, both online and printed, | am always ‘on the lookout for new uses for traditional tools or ways to make tools from the unex pected. So if you figure out what to do with your drawplate and some metal clay, please let me know HADAR JACOBSON, and teaches classes ater sus, Textures EASY METAL CLAY | 25, 3 & LVER STANDARD FOR JEWELRY MAKERS Wale Sil Download your FREE eBook today: 3 Metal Clay Jewelry Making Projects — | nf I \ i | = Add this valuable reference guide to your jewelry making \ } e Ss toolbox and find everything you need to get started creating spectacular metal clay jewelry today! Download your free projects at Making Dangling : Recimetcleaiele: Make a mold to replicate favorite shape aa utay CREATING JEWELRY ssottenbest as a shared experience. | live in upstate New York and my sister lives in Texas. We're very close and have a lot in common. Though we don't get to see each other as often as we'd like, we do get lost in our conversations, especially when sharing our passion of making silver jewelry. (On her last visit, she picked a couple of delicate, heart-shaped leaves and shared them with me. These dangling leaf earrings were made using those leaves, and | think of her every time | wear them, Create the Mold Photo 1 Each leaf is different, s0 you will eed to estimate how much molding cam- pound you will need in order to cover your leaf evenly. Use equal amounts of the two parts of the molding compound and knead them together until the color is uniform (or as directed on the package), Lay the leaf on a flat, smooth, nonporous surface with the bottom side facing up. The veins on the back of the leaf will give your mold and finished piece more detail than the top of the leaf will. Press the molding compound onto the leaf, extending it over the edges. Let the mold set up according to the pack- ‘age directions, usually about 10 minutes. After the mold has hardened, approximately 10-15 minutes, flex it gently to loosen and remove the leaf. Form the Clay Leaves Photo 2 Rub some hand conditioner on your hands to prevent the clay from sticking to your fingers, This will also keep the clay from drying out during handling. Spray the mold lightly with anti-stick solution to pre- vent the clay from sticking to it. Roll two even sized balls of clay, big enough to cover the leaf mold. Because silver clay dries quickly, | wrap up the second ball of clay to keep it moist until lam ready for it. Press one ball of clay into the mold, spread- ing it evaniy over the whole leaf. Carefully lift the clay off the mold and lay it, face up, in Cone of the shallow paint cups. Gently press it into the mold, taking care not to smudge the vein detail. Then use the reserved ball of clay to repeat for the second leaf. Photo 3 After the clay leaves have complete ly dried, carefully file the edges smooth with metal files. | suggest doing this over a clean, nonporous work surface, and when you're done, scrape up the filings and save them for use in making slip (See box). Then using ‘a small drill, drill a hole at the top of each lay leaf where you will attach ear wires. MATERIALS 9 Leat ms silver metal cy Clayate non-stick hana Bottle Antstick solution (uch Coolstin Two:part molding compound suchas MegaMol Liver of sulfur (options) rooLs work surface, needle fies, «all di bt, 3M" Wetercry* palishing papers through ite is, ot raze bristle bath gue len soe, iver pals, sft coins ¢ plastic pain pan OTHER: Rotary tol or exible shat tool with polish pad ming: Kl ith kin shelf and fiver blanket Mo sy-wotkng tools, and other of the metal lay, metal tools a eras used for this project wile avalable from welstocked meta day and ly vendors, many jewelry su Advertisers Index on page 137 how to make and use slip errr ae ena eee oi Cae ey EASY METAL CLAY | 29 Fire the Clay Leaves Photo 4 Tear off two small amounts of fiber blanket about the size of each leaf. Lay each piece of fiber on the kiln shelf, giving each ‘one a domed shape. Laying your leaves ‘over the domed fibar blanket will keep them from slumping (flattening out) during firing Place the kiln shelf on ceramic stilts in the kiln and fire at full ramp up to 1650°F (900°C) for two hours. Let the leaves cool completely before removing them from the kiln. 30 | JEWELRYARTISTMAGAZINE.COM Rub some hand conditioner on your hands to prevent the clay from sticking to your fingers Finish the Leaves Photo 5 When the leaves are removed from the kiln, they will look white and sparkly. Burnishing will give them the look of silver we're used to. Use a small amount of liquid detergent on a brass wire brush and brush the leaves, both front and back, until the white is gone and the silver comes through. ‘Than polish the leaves with polishing pa- pers, working through the grits from coarse to fine. If you have one available, you may also tumble them in a tumbler. After polishing or tumbling, add a patina by dipping the leaves into a warm liver of sulfur solution. When they have achieved the patina you desire, immediately neutral ize the liver of sulfur by dropping the leaves Into a baking soda and water solution (2 tsp, baking soda dissolved in | cup warm water, then rinse them under fresh, running water. Polish the leaves with silver polish to selectively remove the patina from the high ‘areas. This method will leave patina in the recessed areas and enhance the detall. Hang the Leaves Photo 6 Hang the eartings from ear wires of your choice. | made 20 ga sterling silver wires. To ball the wire ends, hold a small piece of wire, about 1/4 times the desired enath, with pliers, and put the end into the flame of a torch. Do this in a safe area, clear of flammable material, over a sink with a small amount of water in it, or over a bow! of water that will catch any silver that may break off if the ball gets too heavy. After you are pleased with the balled wires, gently polish them. Use small round nose pliers to bend the beaded ends so the leaves will hang vertically and dangle freely. Then, while holding both wires so their ends are even, about halfway up the wire, bend the other side back making a downward '." Slide the leaves onto the ear wires after sanding the cut wire ends smooth, ‘SUE ROPP-NAMET ha years o caring etn citerent esi andalo enoys stefening and painting and forte lot ew years Paste on erealing original pieces ojewely with and She loves outdoor actives a Her work isinspired foe more Of Sue wore at eres create jewelry at a gallery level Embrace Your Ancient Creative Impulse and Master the Art of Sculptural Metal Clay MASTER TEACHER and jewelry artist Kate McKinnon invites you to create unique & stunning necklaces, charms, bracelets cuffs and earrings Sculptural Meal Cay Jewelry explores sculptural forms, moving parts, panic designs, atacaments settings, unusual textures, and much more, With 10 unique piecesin step by step photography anda bor tional DVD, youll have all the tools and inspiration you need to create jewelry thatis truly arto weat! sculptural metal clay JEWELRY | TECHNIQUES + EXPLORATIONS [ass KATE McKINNON sculptural metal clay Sculptural Metal Clay Jewelry $26.95, 146 pages isan: -1-59468-174-3 5) INTERWEAVE. Find Sculptural Metal Clay Jewelry asweltas gat selection ‘ofoter Interweave products at your independent rt reall SKILLS thakil TIME IT TOOK Between one and Cocktail Ring Attach clusters of crystals or pearls to create a ring focal that moves and shimmers like champage bubbles BY TAMARA HONAMAN PLAYING WITH FORMS AND SHAPES eto this design—it seemed no matter what shape came from my hands, it was destined to perch above my fingers. The design works alone, without the eye pins and beads. But when you can add more sparkle and color, why not make use of the eye pins and embellish to your heart's content? 32 | JEWELRYARTISTMAGAZINE.COM Photo 1 Using the ring sizer, size the finger intended to wear the ring. Increase this size by 172 fing sizes to allow for shrinkage of the ring during firing, Place the new size ring sizer onto the ring mandrel and, using a pencil, make a mark on the ring mandrel above and below the ring sizer. ‘With scissors, cut a strip of Teflon’sheet {and wrap it around the ring mandrel over the mark, Trim the sheet so the ends only slightly overlap. Tape the seam and bumish the tape: so it stays in place and creates a cone. Phote 2 Place the ring sizer back on the Teflon shest if you can’t see the pencil lines through it and draw lines above and below. Phote 3 Lightly oil your hands, roller, work surface, texture, and using caution, a clay blade, Open the package of clay and re- move about 10 grams. Compress it between ‘your fingers a few times, then place it be ‘tween a 6-card-high thickness guide. Using the roller, roll over the clay 1-2 times. Flip the clay over and roll again. Repeat until the lays level with the guide and has a nice long rectangular shape. Photo 4 Using the clay blade, trim the clay so the sides are straight and the band is the width you'd like. Photo 5 Place the strip of clay on the cone of Teflon sheet on the ring mandrel, at the mark. Photo 6 Overlap the ends of the clay. While holding the clay blade on an angle, trim the lay, working through both layers. MATERIALS 20 metal iy rams fine-siver Metal cay paste (purchased or premade) Ove a mist spray bot filed with water 10 Swarovsk XILION ask pendants 1055mm (OD) jump frags, 1B gausk tay Thick = guides 6 cards, cards, 2 cards), roller ver, clay lade, wooden rina mandrel, 2 Teton non-sitck worksheets, mol/Yorm, texture plates, fine iver up-eyeFnging, ‘ze, rube toot work surface fin tipped clay pointed pain bush, sessors ano: Round needle fle, fl fat nase ler, fash caters, chain nose pers, ste fing mandrel, rawhide mallet FINISHING: Polishing pope's in 400-2000 git sanding pads from medium to utratine (20-1000 grit, rotary tumbler, tumbling media stailes shot and umizhing mound) brass wie bush rine Kil, vermicute, kiln fish to fiber blank Most ofthe suplies and tools ctean befound at fremountaingems.com and er well-stocked metal cay, bead, and jewel sod in tis ‘many of whom Most of metal clay, metal day-working ‘008, and other tools and ‘matoils used for ths project willbe avalablo rom well- tacked metal clay and supply vendors, mary can be foundin ou Advertisers Indexon page 137 EASY METAL CLAY | 33 pet oEY more curved ring top See es rene! ‘the shape you cut out CeCe ct OFface down inthe mol, ecu ad Pee cera) See Ele bac oc g to the top’s Bevatel-se Col) ee) eee eu ont Peres eget oat Prin usc eat ene Reece iret) Cet eee oe cy freemen Bed Rad Been) peer eaine Photo 7 Remove the excess clay. Bring the ends of the clay together, seaming them 0 the angled cuts meet and create a flush connection. Using a paint brush, apply wa- ter to the seam so the clay bonds together. Photo # Smooth the seam so itis invisiole. Let the ring dry on the mandrel for a short time. Once the ring can hold its shape, care~ fully remove the Teflon cone. Let the ring

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