NEW!

Combine resin & silver dav!

Make a stylish in 12* ’

Add colour to your silver clay with our exclusive ceramic decal technigue

ADVANCED PROJECT

MATERIALS »■ 50q Art Clay Silver m- Sollerw I.5mm & im m spacer bars m- B ad ger ö a lm

* . Cushion tem plate « Clay pick* Leaf texture p la le w MouJding com pO Lnd

•» Buüon of a Iree* U V co lo u re d resins

» U V liqht box

e- Silver chain « Jum prings

desiqnertips:* S m a lle r fram es make g rea l c h a rm s

Iû make in to a bracelet =. Leaves on the ir own make

good earrings

Red sky a t n iThis pendant was inspired by one beautiful evening in autumn. By Tracey Spurgin

T racey is a senior A r i Clay

instructor w ı(h m ore ıhar»

ten years teaching experience,

delıvering courses and u'ûrkshops w ılh

passion andenthusiasnı. This pendant

sıarts ıviıh a simple m oulding o f ıhe

tree arıd ıhen adAs a fram c to capture

the glorious colours o f a red sky w iıh

the fina] deıails o f falling leaves to

capture the essence o f aucumn.

STEPİ STEP 1This but ton of a Iree makes

a pedect lea lure tor Ihıs pendant.

Using two part silıcone mouldirıg

compound, lake egual am ounts ol

each part, m ı* logether thoroughly

but quicltly, Ihen p u S h the bulton

into the compound and wait tor

about ten rni;ıules before releasing

the buttor* lo leave a perlect mould.

STEP 2Prepare the clay to a sof t outty State by massaging a little water into ît. This vvill help to ease the clay into the detaıl ol the mould. Use vûur f in le r lo manipulate the clay İnto every tast detail of the mould.Run Badger Balrrı along (he edge of a t issue bladc and scrape away any exce$S clay. Release the clay from the mould and leave lodry,

12

STEP 2

TR-AC

C ̂S

PUR-C

iiN. U

Nl'HO

N'ı' B

ftILEV

STEP 3Once again. mix up two part moülding compound. rolı out behveen Ivjo ı.5ırım soacer hars t hen laya sage leaf onto t he compound. roll över once more and allovv to sel ürm before removıng Ihe leaf. Ihis makes a qreat tenlure plale, Make two identical plales. Take a small amount of day rollıng it into a teardrop shape. Press the day betıveen the two sage leaf.

STEP 4 STEP 4To make the frame base layer, start w ilh haH of the remainlnç clay. Apply Badger öalrn to the work surlace then roll out the day belween imm spacer bars. Check ıt has been rolied to the correct size using the Coot tools shape template called "cushion" measuıing the targest (rame size. Cover this över w iih cling film vvhile preparing Ihe second layer of the (rame.

rSTEP 6 im

-

STEP 8

STEP 5Prepare a texture plale with olive od. Rolt out the remaimng haH of the ctay betvveen t.5mırı spacer bars. Transler the Clay to the lexlure pldle. now lay İmm spacer bars oo top of the texture plate beside the clay, now rol! över the clay and spacer bars once, fırmly.

STEP 6Use the ''Cushion' template again with a ctay pick to cut out the inner aperture lor ıhe (rame. Remove the cling film from ıhe base layer, apply a littie water andcarelu liy lilt the text jre d Irame and lay on lop ol the oase layer.

STEP 7Oip the day pick into the Badger Balrrij r>ow use the pick ıo çul sround the largest aperture o l the cushion templale, Make sure you penelrale the lwo layers, holding (he clay pick al a 90° angle in c-rder to create a clean edge to the Irame. This should glide Ihrough w iıh ease. Remove any excess clay and slore. AIIovj ali the pieces to dry.

STEP 8Make two small loops Irom which to hang the pendant. Use İmm spacer bars cut a strip approximateiyO.Smm wıde by 0.75mm long. Lift and ease this över a cockiaii stick to form a small loop or lunnel.AIIovj to thoroughiy dry.

STEP 7

STEP 10 STEP 11

STEP 9Sana and reline the Irame, leaves and tree with sandirtg grits, fileş and pollshing papers, to help refine ihp sıırlac? ol the clay. The use of polıshıng papers really helps the en d polishing procedure.

STEP 10Assemble the loop component parts to the hack ol the Irame by addlng a litlle water to the Irame and a lilllâ synnge a long the edge of the loop. place caretuliy into posıtion and hold lor several seconds Altow ıo dry.

STEP 11Once ali the pieces are thoroughiy dry and refined, they can be tired using your preterred method.Here the pieces have been fired in a kiln al 850° for 30 minutes. Once fired Start with a solt brass brush and proceed Io polish by hand or with the aid of polishing machlne or eguipment.

STEP 12Mix the ciear UV resin addlng just a hint ol colour with colourants.Use a cocktail stick to drip the resin onto (he aperture. cure one layer. then add lurther (ayers ûf colour if desired. Place the tree onto the resin, as Ihe resin cures it will secure the tree into position. Place (he piece İnto the UV light box Io cure the resin. Assemble the pendanl wiıh chain and jumprings.

13

resourceswww.craftworx.co.uk.www.siiverclay.co.uk CONTACT DETAİLS

lraC6y@ cral|^orx.co.jk, 07961 8S3H5 >. . . . ’■ m 5 k ı n o ı c .. c l , r y ' *iı

Material Safety Data SheetMay be used to comply with OSHA's Hazard Communication Standard, 29 CFR 1910 1200. Standard must be consulted for specific requirements.

U.S. Department of LaborOccupational Safety and Health Administration (Non-Mandatory Form)Form Approved OMB No. 1218-0072

IDENTITY (as Used on Label and List) Accent Gold for Silver Paint™

Note: B lank spaces are no t perm itted. I f any item is not applicable o r no in form ation is available, the space m ust be m arked to ind ica te that.

Section IManufacturer’s name Emergency Telephone Number

Gold Nugget Innovations Not applicableAddress (Number, Street, City, State and ZIP Code) Telephone Number for Information OJ-~ ,-~r\o(505) 855-5508

7804 R. C. Gorman NE Date Prepared October 18, 2004

Albuquerque, New Mexico 87122 Signature of Preparer (optional)

Section II—Hazardous Ingredients/Identity InformationHazardous Components (Specific Chemical Identity, Common Name(s)) Other Limits

OSHA PEL ACGIH TLV Recommended % (optional)Not applicable Not applicable Not applicable Not applicable

Contains no hazardous com ponents to be declared when used as paint mixture.

Contains: gold powder (99+% ) >50% (wt.) CAS #7440-57-5

C ellu lose gum <5% (wt.) CAS #9004-32-4Chem ical description: sodium carboxym ethylcellu lose

W ater Balance

Section III—Physical/Chemical CharacteristicsBoiling Point 2807 C (as gold metal) Specific Gravity (H20 = 1) 19.3 grams/cc (as

gold metal)Vapor Pressure (mm Hg) Not available Melting Point 1064 C (as gold metal)

Vapor Density (AIR = 1) Not available Evaporation Rate (Butyl Acetate = 1) Not

available

Solubility in Water Gold powder is insoluble. Cellulose gum binder will dissolve in water.Appearance and Odor Brown dispersion of gold in aqueous binder; odorless

Section IV—Fire and Explosion Hazard DataFlash Point (Method Used) Not available Flammable Limits LEL Unknown UEL

Not flammable Not available Not available

Extinguishing Media Not applicable. Use suitable extinguishing media for surrounding materials and type of fire.

Special Fire Fighting Procedures hrefıghters should wear full turnout gear and pressure-demand self contained breathing apparatus (SCBA)

Unusual Fire and Explosion Hazards Gold can form explosive compounds with ammonia, ammonium hydroxide and aqua regia, and

hydrogen peroxide.

(Reproduce locally) OSHA 174 Sept. 1985

Section V—Reactivity DataStability Unstable Conditions to Avoid None known

Stable Yes

Incompatibility (Materials to Avoid) Ammonia, oxidizing agents, halogens, hydrogen peroxide

Hazardous May Occur Conditions to AvoidPolymerization

No None known

Will Not Occur XXX

Section VI—Health Hazard DataRoute(s) of Entry Inhalation, Inhalation? May irritate Skin? May cause irritation of Ingestion? No adverse health

ingestion, skin contact, eye respiratory tract if dust of dried skin (allergic dermatitis) of effects are expected from

contact. paint is inhaled. Get medical susceptible people after accidental ingestion of small

attention if reaction is severe. prolonged contact. amounts of this product.

Health Hazards (Acute and Chronic)

Paint is non-toxic and non-irritating to most people. May cause allergic dermatitis in susceptible people after prolonged skin contact. May cause irritation if transferred to eyes.

Carcinogenicity No NTP? Not applicable IARC Monographs? Not OSHA Regulated? No

applicable

Signs and Symptoms of Exposure May irritate eyes. May cause a mild allergic reaction on skin of susceptible people.

Medical Conditions Generally Aggravated by Exposure Respiratory disease, pre-existing skin condition

Emergency and First Aid Procedures .. ~ ' .. . . ' ' T “ “ ~ ~ “ Z T"If a skin rash or itchiness develops, discontinue use. If paint gets into eyes, remove contact lenses, flusheyes thoroughly with low pressure water for at least 15 minutes, and see a physician to ensure that the gold powder and aqueous mediumare completely removed.

Section VII—Precautions for Safe Handling and UseSteps to Be Taken in Case Material Is Released or Spilled Wipe up residue with a damp cloth.

Waste Disposal Method Reclaim gold if possible. Dispose of via licensed firm in accordance with federal, state, and local regulations (see

EPA 40 CFR 261).

Precautions to Be Taken in Handling and Storing Paint dries if exposed to air for many minutes. Keep container tightly capped at room

temperature. If paint dries out, reconstitute with ordinary tap water.

Other Precautions None

Section VII—Control MeasuresRespiratory Protection (Specify Type) None known

Ventilation Local Exhaust Fire paint in well-ventilated space. Special None known

Mechanical (General) None known Other None known

Protective Gloves Wear gloves appropriate for task if an allergic

reaction is possible. Otherwise gloves are not necessary.

Eye Protection Wear safety glasses or goggles

Other Protective Clothing or Equipment None known

Work/Hygienic Practices Eyewash capability should be available. Wash hands thoroughly after handling product to avoid transferring gold

powder to unwanted surfaces.

The information herein is given in good faith, but no warranty, express or implied, is made.

AGS™ - Accent Gold for Silver™

For best results it is essential that you fo llow these instructions carefully!These instructions, dated 2/16/2005, supersede all others.

About This ProductThis product consists of one gram of pure 24 K gold powder dispersed in a non-toxic water based medium. It is used to apply gold accents to fine silver jewelry articles, including those prepared from silver clay. AGS™ is applied with a brush to an already- fired silver piece, followed by drying and then heating the piece to bond the gold powder to the silver. After cooling, the gold layer is burnished and the final finish is applied.

Note: AGS™ in the enclosed bottle is prepared as a thick slurry and can be applied by daubing as well as brushing. Thin the paint with a drop o f water i f needed, but do not thin it too much or you will not be able to apply it in a sufficiently thick layer. M ix the paint with a straightened paper clip or a sewing needle (to minimize adherence).

How to Use A ccent Gold fo r Silver™Method 1 - Firing AGS™ in a Kiln or FurnaceIf AGS™ is to be used on an item made from silver clay, fire the item first per the manufacturer’s instructions and allow it to cool. Do not burnish the fired silver piece before applying AGS™, so that the surface remains rough to promote good adhesion. Be sure the area to receive AGS™ remains clean and is not contaminated with oils or dirt. If it is, briefly re-fire it. Then apply AGS™ by using a small clean artist’s brush being careful not to get it on unwanted areas. Be sure the brush is new or has been used only for AGS™. AGS™ can be used successfully by applying either one thick layer, or by building up several thin layers. For the latter technique please refer to Step 5 in the following section on Torch Firing. If using a single thick layer, then daubing of the paint is an alternative to brushing for applying the thick layer. In either case, dry the paint as described in Step 4 in the section on Torch Firing. Do not dry the paint too fast or it may not adhere well to the silver after firing. If there is AGS™ on an unwanted area, remove it by scraping with a needle or small knife after it has dried and then return it to the bottle for reuse.

Now fire the piece by putting it into a kiln or furnace preheated to 1650F as described in the following paragraph.

Exposing the piece to the proper temperature and time is essential to achieve good adherence of AGS™ to the silver. The kiln shelf must already be in the furnace and at the firing temperature. Using 18” long tweezers and a glove, simply lay the piece on the preheated kiln shelf, close the kiln door, wait until the temperature returns to 1650F (+/- 20 degrees F) and then continue firing for 7 minutes. (Refer to safety precautions below.) Firing for a slightly longer time will not cause a problem if the AGS™ is sufficiently thick; otherwise, some fading of the gold color may occur due to diffusion of silver into the exposed surface of the gold layer.

You may fire multiple pieces at once although the time required for the kiln to return to 1650F will be longer. After firing for 7 minutes at 1650 +/- 20 degrees F, remove the piece and allow it to cool. If coverage of the gold is not complete or it has been applied too thinly, apply more AGS™ in those areas, dry the piece, and re-fire it.

Burnish the gold layer with a polished burnishing tool. A matte finish can then be applied with a wire brush, or a beautiful luster can be achieved by tumbling the piece with stainless steel shot in water.

Method 2 - Firing AGS™ with a TorchThe following instructions are provided courtesy of Tonya Davidson of Whole Lotta Whimsy, who has used them with repeated success.

1) Fire the piece per the manufacturer’s instructions in a kiln, by torch, or in a hot pot.2) After cooling, remove the piece being careful being not to touch the areas where the

gold will be applied. (Avoid oils from fingers.)3) Add one or two coats of PMC3 paste, or ArtClay 650 Clay, to the areas where the

gold will be applied. The paste should be thick, like custard - do not water it down to a thin consistency.

4) Dry either naturally, with a hair dryer on low setting, or in a dehydrator. Do not use a griddle or hot plate because they dry the paint too quickly.

5) Apply three coats of AGS in thin layers. Two layers will yield a subtle gold application. Dry each coat as described in Step 4.

6) Place the piece on a solderite torch board and dim the lights in the room.7) Begin torch firing.8) Once a medium-orange glow is present, continue firing for seven minutes.9) Cool and burnish as desired.10) If desired (not necessary), hold the piece with tweezers immediately after removal of

the torch and use a Pyrex, agate, or steel burnisher to burnish the gold onto the surface of the piece. This will add a final keum-boo method to the process.

Safety PrecautionsThis paint is non-toxic, non-irritating to most people, and generally safe to use. If you experience a skin rash or itchiness after contact, discontinue use. Wash your hands after each use. If AGS™ gets in the eyes, flush them thoroughly with water and see a doctor to ensure that the gold powder and medium are completely removed. To avoid burns when inserting pieces into a kiln and removing them, wear gloves*, safety glasses, and use a long pair of tweezers (18 inch is recommended). Avoid prolonged exposure of eyes to the hot kiln, which in extreme instances can cause cataracts. If you are concerned about the degree of eye exposure, wear #3 welding glasses. *As long as your hand doesn’t get too close to the heated interior of the kiln, most any glove not made of synthetic materials is appropriate such as an oven mitt, leather glove or a specialized heat proof glove. Just keep a watchful eye on the glove to avoid problems. REMEMBER - Safety first!

For more information about this and related products, please contact Dr. Ronald Diegle at:Gold Nugget Innovations

7804 R. C. Gorman NE Albuquerque, New Mexico 87122

Telephone: (505) 856-5608 Email: dieglegold@aol.com

AGS™ - Accent Gold for Silver™

For best results it is essential that you fo llow these instructions carefully!These instructions, dated 11/10/2007, supersede all others.

About This ProductThis package contains two bottles: one contains pure dry 24K gold powder and the other, a non-toxic water base medium. After mixing, the gold paste is used to apply accents to fine silver jewelry articles including those prepared from silver clay. AGS™ is applied to an already-fired silver piece, followed by air drying and then heating to bond the gold powder to the silver. After cooling, the gold layer is burnished and the desired final surface finish is applied.

Mixing: Add 8 to 12 drops of medium from the glass bottle to the plastic bottle containing the gold powder and mix thoroughly with a straightened paper clip (provided). The consistency should be that of thick slurry. Thin the AGS™ as necessary, but not too much or you will not be able to apply it in sufficiently thick layers. Note: AGS™ can be applied by daubing as well as brushing.

Rehydration: If the AGS™ dries out in the plastic bottle between uses, restore moisture as follows. Add several drops of medium to the dried AGS™ and stir thoroughly for two minutes. Then cap the bottle and let the mixture stand for at least eight hours, and again stir the mixture thoroughly for two minutes. (Thorough rehydration is essential to avoid a grainy texture in the finished gold layer.) At this time the AGS™ is properly rehydrated and ready for use. Keep the bottle tightly capped after adding medium.

H o w to Use A ccen t Gold for Silver™Method 1 - Firing AGS™ in a Kiln or Furnace1) If AGS™ is to be used on an item made from silver clay, fire the item first per the

manufacturer’s instructions and allow it to cool. Do not burnish the fired silver piece before applying AGS™ so that the surface remains rough to promote good adhesion. Be sure the area to receive AGS™ remains clean and is not contaminated with oils or fingerprints. If it is, briefly re-fire it.

2) Apply AGS™ with a small clean artist’s brush and be careful not to get it on unwanted areas. Be sure the brush is clean. AGS™ can be applied either in one thick layer, or preferably, by building up several thin layers.

3) If using several thin layers, refer to Step 5 in the following section on Torch Firing (see reverse side). If using a single thick layer, then daubing of the paint is an alternative to brushing.

4) In either case, dry the paint as described in Step 4 in the section on Torch Firing. Do not drythe paint too fast or it may not adhere well to the silver after firing.

5) If there is AGS™ on an unwanted area after drying, carefully remove it by scraping with a needle or small knife and return it to the bottle for reuse.

6) Now fire the piece by putting it into a kiln or furnace preheated to 1650F as described in thefollowing step.

7) Exposing the piece to the proper temperature and time is essential to achieving good adherence of AGS™ to the silver. The kiln shelf must already be in the furnace and at the

firing temperature! Using 18 inch long tweezers and a glove, lay the piece on the preheated kiln shelf, close the kiln door, wait until the temperature returns to 1650F +/- 20 degrees F, and then continue firing for 7 minutes. (Refer to the safety precautions below.)

8) You may fire multiple pieces at once, although the time required for the kiln to return to 1650F will be longer. After firing for 7 minutes at 1650 +/- 20 degrees F, remove the piece and allow it to cool. If coverage of the gold is not complete or has a faded color, apply more AGS™ in those areas, dry the piece, and re-fire it.

9) Burnish the gold layer with a polished burnishing tool. A matte finish can then be applied with a wire brush, or a beautiful luster can be achieved by tumbling the piece with stainless steel shot in water.

Method 2 - Firing AGS™ with a TorchThe following instructions are provided courtesy of Tonya Davidson, who has used them with repeated success.1) Fire the piece per the manufacturer’s instructions in a kiln, by torch, or in a hot pot.2) After cooling, remove the piece being careful being not to touch the areas where the gold will

be applied. (Avoid oils from fingers.)3) Add one or two coats of metal clay low fire paste to the areas where the gold will be applied.

The paste should be thick, like custard - do not water it down to a thin consistency.4) Dry either naturally, with a hair dryer on low setting, or in a dehydrator. Do not use a griddle

or hot plate because they dry AGS™ too quickly and may cause poor adhesion to the silver.5) Apply three coats of AGS™ in thin layers. Two layers will yield a subtle gold application.

Dry each coat as described in Step 4.6) Place the piece on a solderite torch board and dim the lights in the room.7) Begin torch firing.8) Once a medium-orange glow is present, continue firing for seven minutes.9) Cool and burnish as desired.10) If desired (not necessary), hold the piece with tweezers immediately after removal of the

torch and use a Pyrex, agate, or steel burnisher to burnish the gold onto the surface of the piece. This will add a final keum-boo method to the process.

Safety PrecautionsThis product is non-toxic, non-irritating to most people, and generally safe to use. If you experience a skin rash or itchiness after contact, discontinue use. Wash your hands after each use. If AGS™ gets in the eyes, flush them thoroughly with water and see a doctor to ensure that the gold powder and medium are completely removed. To avoid burns when inserting pieces into a kiln and removing them, wear gloves*, safety glasses, and use a long pair of tweezers (18 inch is recommended). Avoid prolonged exposure of eyes to the hot kiln, which in extreme instances can cause cataracts. If you are concerned about the degree of eye exposure, wear #3 welding glasses. *As long as your hand doesn’t get too close to the heated interior of the kiln, most any glove not made of synthetic materials is appropriate such as an oven mitt, leather glove or a specialized heat proof glove. Just keep a watchful eye on the glove to avoid problems. REMEMBER - Safety first!

Do not use this product in any manner except as described in these instructions.

For more information about this and related products, please visit our website at www. JMIAGS.com.

Jewelry Material Innovations, Inc.Albuquerque, New Mexico Telephone: (505) 856-5608 Email: Diegle gold@aol.com

Art Clay Silver - General InformationDeborah E. Love Jemmott © 2000 Rev. 1-03 ,1-05

Art Clay - Silver is made up of fine silver particles (1 to 20 microns in size), water, and a non-toxic organic binder. Once the piece has been formed and dried, it is fired in a kiln, where the binding agent burns away leaving a fine silver (99.99% silver) piece that is 8-1 0% smaller than the original model.

The clay comes in three forms:Clay - pillow, sheet or paper type SyringePaste - water based or oil based

Art Clay - Silver is water based. Its working properties are similar to that of porcelain clay. It is flexible and accepts texture well. It dries very quickly, but can be re-hydrated - even if it dries out completely.

Characteristics of the Art Clay - Silver

• The clay is water based. If it becomes stiff while working, use a small spray bottle of purified water with a few drops of glycerin added to spray the clay. Knead the clay with the added water between sheets of plastic wrap to keep it from sticking to hands.

• Use oil, Pam spray, Badger Balm, Gardener’s Salve or any non-petroleum based product to keep the clay from sticking to hands and tools. Use MINIMAL amounts, as too much of any of these materials added to the clay will make it not stick together.

• Take out only the clay necessary to finish the project. The remaining clay should be wrapped in plastic and stored to keep it from drying out. Keep the wrapped clay in a film canister with a baby-wipe in the bottom and another one on the top. For short-term storage as you are working, place the clay in a plastic sheet folded over itself inside a baby wipe folded over itself.

• The clay can be reconstituted even if it becomes completely hard. Grind itinto a powder and add water. Wear a dust mask while using the flat side of a diamond cut-off wheel to make the clay into powder. While working on a Teflon baking sheet, lightly spray the clay dust with water. Use a small palate knife to mix the clay and water together. Add as little water as possible. Mix until the clay sticks together and picks up the clay from the baking sheet.

• Keep the clay indoors and out of direct sunlight. Do not keep it in therefrigerator.

• Do not get clay in mouth or eyes.

• The piece can be added to or reworked - even after firing - and can be re- fired multiple times.

Working with the Art Clay - Silver

Since the clay dries quickly, all tools and supplies should be set out and thearea prepared before opening the packet.

Tools and SuppliesPlastic Sheet *Clay Working Tools*X-acto Knife or Scalpel*Roller*Guides (for thickness)Masking Tape Water (Distilled or R/O)Film Canisters Texture Materials*Plastic Wrap Paint Brushes Straws - a Variety of Sizes Spray Bottle (Water & a few drops of glycerin)

• Have a design in mind (or at least a direction) before opening the Art Clay packet as the clay dries quickly, making it less pliable.

• The clay is sticky. Use a lubricant on your hands and on any tools that come into contact with the clay. The lubricant must be non-petroleum based such as Badger Balm, Pam Cooking Spray, or Gardener’s Salve. Do not use too much as it will damage the working properties of the clay.

• When the clay is first opened, it may require a little kneading. Have plastic wrap pieces nearby to wrap the unused portion to keep it from drying out and to wrap around the portion being kneaded. Any clay not in use should be wrapped tightly in plastic wrap or it will dry out.

• For slab work, use roller guides for an even thickness. Generally, 1-mm thickness is recommended.

• Use a damp brush or a light spray of water to prevent cracking when folding the clay, rolling it into coils (snakes), or anytime moisture needs to be added to the clay. A small spray bottle works well for this.

• The clay accepts textures well. To create textures:

* Use Badger Balm or other non- petroleum based release agent to lubricate these items before using them with the Art Clay.

1. Roll the clay over lace / textured card stock / or other flat textured materials.

2. Use rubber stamps to press into the clay. Use a lubricant on thestamp. Also be aware that many stamps are copyrighted and you mustalter them significantly to avoid copyright infringement problems.

3. Create textures with: string / spring on its side / corrugated cardboard on edge / sponge / curler / broken wooden stick on end / crumpled aluminum foil / Styrofoam sheet with design drawn in (press it onto the clay for an embossed design) / fabric / burlap / nylon stocking / lace / etc.

4. Use the syringe to create linear overlay designs.

• When making a seam of joining pieces together, use Art Clay Paste or a bitof Art Clay Syringe as a “glue” to fuse the seam together. Paint a little paste on each of the pieces to be joined and then put them together. If a largevoid needs to be filled, use the syringe to fill the area.

• Use fine silver wire for any structural elements or findings. Work the clay around the wire. Fine silver may be fired in place. Sterling Silver may be added to the piece and fired in place if the Art Clay - 650 is used and fired at the lowest temperature.

• A small piece of cardstock can be used to form the piece on and then transport it to and from the warming tray more easily. (Playing cards work well).

• It is best to finish the piece as much as possible while it is in its “greenware” state (completely dry, but unfired.

• Pieces should be completely dry before firing. To check, lift the piece off thewarming tray and place it on a piece of metal (a CD tin works very well for this). After a few seconds, move the piece to another place on the CD tin. If there is moisture residue where the piece was originally placed, it is not dry. If there is nothing, it is dry and is ready for clean-up or firing.

• After firing, Art Clay - Silver is a solid metal object of fine silver. It can befiled, sawed, sanded, polished, or soldered to other non-ferrous metals.

• Pieces may be re-fired multiple times. Add clay, syringe or paste to thefinished piece and repeat the firing process. The new portion will shrink 8­10%. The previously fired portion will not shrink again.

LAUR

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Oriental pendant made from art clay silverThis professıonal project is desıgned for jevveilery makers who love woı kinq vvith fine silver clay The Art Deco desıgn is sımply slunnmg

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PHY

The safest way to fire this piece is in a kiln.Either burnish or tumble polish this piece once finished. Oxidise with Liver of Sulphur. Finish with a little silver polish and cloth.Prepare the clay in ding film and prepare the work surface with a little olive oil.

Tracey Spurgin says, "My focus is perfection in \vorking and teaching wilh Art Clay Silver" Tracey is a qualified Art

Clay Silver İnstructor and m em ber of the Silver A rt Clay Guild. Her vast teaching experience nıeans she can ofFer work$hops, demonstrations, parties or presentations for ali occasions. For further information visit her website.

This project focuses on transferring an oriental pattern onto silver clay. The piece is then fret vvorked with a small diaınond füe. It wül take a little time and patience but the results are well worth the effort.

STEP 1

Y O l i ' l| N L L . ı4' ılv ı ' r11 , ı,

- i I. ı*► If k.|'n• “ İl, I ||

«► "llf'U İM I®- M fî l‘ : İl I'-’ ''I p.rt'.l'•• v jn o ' in ; \ ıp ı s 111 u r ı i1

»■Ahu hı .o - M ı l ı • lı

»■ "l.ıy pıc i-<► pR:nt İ li Ul I

Kiln

STEP 2

Use paper and scissors to cut out a paper pattern of the main pendant piece. Prepare the clay in cling film and prepare the work surface wlth a little oJive oil.

S i LP 2Using 1.5 mm spacer bars, roll out the clay to an even layer; gently but fîrmly add texture with a rubber texture stamp. Then piace the paper pattern över the clay.

STEP 3

S I LPUse a clay pick to cut out the open fret work of the design. Be sure to hold the clay pick at a right-angle to the surface.

STEP 4

' - t*

STEP 4Lift the piece very carefully and place över a domed object to create the domed effect. I used the top off an old salt grinder. Allow time to dry naturally.

STEP 5 ı

S I f- ^ bOnce dry, use small fine diamond fileş to file into the fret work to produce clean crisp edges. ©

TRACEY SPURGİN T

designertips

STEP 6 STEP 7

STEP 6To make the bail, roll out the d a y to l.5 m m thick.

Cut a diagonal line and roll the clay onto a stravv.

Cut a correspondm g diagonal im e and use oaste

o r syringe to Joln th e seam together. Once dry,

rem ove the straw.

SÎFP7File and refine the joın until ıt becom es seamless.

SİLP8To m ake the connectm g bail. roll out clay im m

thick adding an o rlen ta l texture stamp. Use a

little paste to adhere it to the back and th e front

of the m ain piece. Allow to dry. File and refine

w lth sandmg grits and fileş.

STEP 9

Fire the pieces a l 8 0 0 °C for 5 m inutes in a kiln.

O r if firing wıth a kitchen blow torch, alloW the

crganic Dinüers to burn a\vay. m alntain the heat

but control it, by holding th e appearance at a

gentie orange giow. Don't allovv this to get very

brightly coloured as this wlll start to m ell the

silver. A fter 3mins. guench in vvater.

resourcesAli clay and tools are available from

C raftw orx.

CO NIACI DLfAİLSW EBSITE: www.craftvzorx.co.uk

EM AIL: tracey<f>craf tworx.co.uk

TEL: 07961 8 8 3 115

How to wear your pe ııd ant

A r t D eco has alw ays had a

s tro n g fo llo w in g in the* w o rld

o f je w e lle ry an d fa sh io n . Look

fo r tops in o r ie n ta i shops th a t h a ve a

m a n d a r in c o lla r o r go th e w h o le w ay

and o p t fo r th e elassle C heong sam

to m ake a d ra m a c ic s ta te m e n t. B lack,

red and s tro n g jew e l c o lo u re d lu x u ry

fa b ric s , w ill h ig h lig h t th e in tr ic a c v o f

th is p iece

SPRING/SUMMER 09 INSPIRATION O

32 İ l I • İ l ; «. 'V • I 1 •- ' I > J 1

Gem studded

T ra c e y d e liv e rs a fu ll p ro g ra m m e

o f silver clay w nrkshops from

her ow n studio in Y orksh ire . but

travels far and w i de to o th e r venues such as

colleges, galleries and art ccntres, to d e liver

a range o f w orkshops th at appeal to the

com plete b eg in ner as w e ll as th e progressing

enthusiast. Learııers are inspired and gain

knowledge and confidcncc in w o rk in g w ith

m etal clay. H e re she shows yo» ho w to m ake

a sim ple and effective b rooch . T h is m eth od

w ould w o rk really w e ll w ith any sim ple

anim al o r rep tile shape.

MATERIALS •> 5 0 g S ilver A rt C lay

» S yringe ty p e A rt C lay

* P aste ty p e A rt C lay

R oller

► 1.5m m spacer bars

B ad ger ba lm or o live oil

W ater

C lay picks o r c ra ft kn ife

Sand ing grits

» Polishing papers

» W ire brush

► S m all (ile

► Paint brush

► Tvveezers

A little p o ly m e r clay

•• S e lec tio n o f C Z (irea b le

gem stones

» Drill se ttin g b u rrs

» F ireab le b roo ch pin

designer tip•> S tippling w ith a brush is a g reat

te x tu re , ve ry easy an d qu ick to

crea te . Take so m e paste p r syringe

ty p e c lay an d vvorking in sm all areas

(so th e paste d o esn 't d ry ) stipp le

w ith an o ld to o th b ru s h or o th e r stiff

brush. K eep vvorking at th e te x tu re

u n til you a re happ y w ith th e way

it looks. You can keep vvetting th e

paste w ith a little vvater, to ch ang e

th e look o f th e textu re .

Make this gorgeous gecko brooch in silver clay and stud with your favourite colour gems. By Tracey Spurgin

STEPİDraw out the design, then cut out

the paper pattern , cover the paper

pattern with badger balm and

prepare the vvork surface with

a little balm or olive oil too.

STEP 2Use l.5m m spacer bars to roll out

the clay to an even layer. Place the

paper pa tte rn onto the surface

of th e clay. use a clay pick to cut

around the outline of the paper

pattern . Use a little polym er clay

under the m ain body and head to

add a little form to the body shape.

Set aside to dry.

STEP 3Once fu lly dry. use sanding grits.

fileş and polishing papers to refine

th e shape and outline of the piece. Work carefu lly and slovvly at this

stage, the m ore finishing done at

this point th e less you need to do

once fired.

STEP 4M ark the placem ent o l the stones,

drill through the clay first vvith

a pin vice, then using a drill setting

burr of equal size to that of the

stones. drill through the clay to

the correct depth, keep checking

as the table of th e stone should

be level w ith th e clay.

S

\ J

STEP 5This pin is a push in brooch pin.

apply a little paste or syringe to the

back of the gecko, to secure the

pin housing in place. Allow to dry

once more. The surface texture was

added to the front of the piece by

using paste as vvell, the stippling

vvith a stiff brush gives the rough

skin like texture.

STEP 6 r i

STEP 6Once fully dry. check the piece

and do a final refine of the shape

and outline. Fire at 8 0 0 °C for 2 0

mins. Allow th e piece to cool down

naturally, finaliy vvire brush. for

a satin sheen. Attach the brooch

pin to finish the piece.

resourcesClay available to purchase via em ail from Tracey

Contact details for fu rth er In form ation on ali

workshops or 1-2-1 tuition:

tracey@ craftworx.co.uk

www.craftworx.co.uk

07961 883115

VVINTER 2011FASHION INSPIRATION

faslı ion tips

MAİN IMAGE Cape £15. (eqglngs E7, socks £2, Primark BE10W Bag by Tcd baker

'O' . . » * ♦ «■ -• ' ' ' ■ -

- r * , ***■•i. I ,#— * .»

w w w m a k ı n ç ı e t t e l e r v c o r r l 33

Material Safety Data Sheet

1. Product and Com pany IdentificationProduct name: Art C lay S ilver Basic series

Clay type, Paper type and Slow Dry type A rt Clay S ilver 650 series

Clay type, Paste type, Syringe type, Slow Dry type and Overlay Silver Paste A rt Clay S ilver ST series

Clay type, Paste type and Syringe type

M anufacturer:Address:Contact Department: Telephone:Fax number: Em ergency contact:

A ida Chemical Industries Co., Ltd.6-15-13 M inami-cho, Fuchu-shi, Tokyo Product Developm ent Departm ent +81 (0) 42 334 6319 +81 (0) 42 224 6359+81 (0) 42 366 8751 (DAC Overseas Division) O ffice hours: 9:00am - 18:00 pm

2. Com position, Inform ation on Ingredients

Classification of Product: Chem ical Nature: Ingredients (% by wt.): Official Reference Number: CAS Registry Number: Dangerous Possi bility:

MixtureS ilver (Ag) and Binder (O rganic m aterials) S ilver 80-95% and Binder 5-20%Silver: N/A, and Binder: N/DSilver: 7440 - 22 - 4, and Binder: N/DN/D

3. Hazardous Identification

Toxicity:

Environm ental Effects:Physical and Chem ical Hazard: Adverse Human Health Effects:

C lassification system:

Possible irritation to the skin and m ucous membrane, irritation of upper respiratory depending on the working environment.N/DAvoid contact with a strong acid and strong base.Possible color change on m ucous m em brane fo r eye(s), nose and throat, and chronic irritation of respiratory organs, caused by long period use depending on the working environm ent.N/D (Japan S tandard C lassification)

4. F irst A id M easures

Inhalation: B low nose and gargle. If s igns / sym ptom s occur, remove person to fresh air. If signs / sym ptom s continue,call a physician.

Skin Contact: W ash well w ith soap and water.Eye Contact: Im m ediately flush eye(s) w ith plenty of w ater until no foreign body is felt. G et im m ediate medical attention.Ingestion: W ash your mouth well w ith w ater and gargle. Get medical attention if necessary.

5. F ire-F ighting M easures

Extinguishing media: W ater, Dry chemicals, CO2Specified method: In case of a small scale fire, use water, dry chem icals or CO2. In case of a larger scale fire, ware protective

gas m ask and use w ater spray method.

6. Acciden ta l Release M easuresHealth measures: Put on dust protection mask, goggle and gloves if necessary.Environm ental measures: In case of large release, do not release to a sewer or natural environm ent.Removal method: Rem ove by vacuum ing or map with a cloth, and then wash.

7. H andling and StorageHandling: W ash well w ith soap and w ater after skin contact. Put on dust protection mask, goggle and gloves if

necessary.Storage: Keep in cool and dark place avoid ing direct sunlight.

8. M easures fo r P rotecting ExposureM easure to Install: Install ventila tion system near the working area if dust occurs.Protections: Put on protection mask, glasses, and gloves.Hygienic Practice: W ash thoroughly after handling.

9. P hysica l / Chem ica l CharacteristicsAppearance: Boiling Point: Melting Point: Solubility:

Flash Point:

Com bustible:

Color / white, O rder / noneSilver / 2155°C / 3911°FSilver / 961°C / 1761.8°FSilver / insoluble in w ater / soluble in nitric acidBinder / soluble in waterS ilver / noneBinder / 300-400°C / 572-752°F S ilver / incom bustible Binder / com bustib le

10. S tab ility and ReactivityStability: StableHazardous Reaction: S ilver reacts w ith acetylene to form sensitive chem ical com pound, reacts with acid to cause

high heat, and reacts to condensed hydrogen peroxide to form gaseous oxygen. Dry s ilver clay reacts with am m onia to form explosive com pound.

Condition to avoid: High tem perature / high humidityHazardous decom position: None

11. Health HazardAcute Toxicity: NoneSkin Corrosion: Possible irritation to the skin and m ucous membrane.Inhalation: Possible irritation of upper respiratory including soreness of nose and throat, coughing and

sneezing.

12. Ecolog ica l Inform ationMobility: May release in dust form in the air depending on the working environm ent.Contam ination: N/DDecom position: N/DBioaccum ulation: N/D

13. D isposa l ConsiderationDisposal method: Follow ing the handling of general industrial waste according to the instruction of the local

authority.

14. Transportation Inform ationInternational Regulation: T ransport in accordance w ith federal, state and/or local regulations.Transportation Consideration: Avoid high tem perature, high hum idity and shock on the container.

15. R egu latory Inform ationLaws of Labor, Safety and Health: S ilver / reporting material (#138 / silver and its water-soluble com pound - under 1%

inclusion)Pollutant Release and Transfer Register:

S ilver / Category 1, Designated Chem ical Material(#64 silver and its w ater-soluble com pound - over 1% inclusion)

O rdinance Review for Regulation of Dangerous Substance, Chapter 1-12:B inder / Designated com bustib ility synthetic resins (other category)

*Ensure this product in com pliance with federal requirem ents and ensure deform ity to local regulation and law.O ther İnform ationReference: Chem ical Encyclopedia (KYORITSU SHUPPAN CO., LTD.)

Chem ical M erchandise of 12394 (THE CH EM IC AL DAILY CO., LTD.)W ebsite of Japan Chem ical Industry Association(JC IA ) h ttp://w ww.nikkakyo.org/ National Institute of Technology and Evaluation (NITE) http://w ww.nite .go.jp /JIS Z 7250 (Japanese Industrial S tandards Z-7250)

Fire Precedent: None

This Material Safety Data Sheet is complied with JIS Z 7250 and formatted as same as ISO11014-1.These data are based on our present state of knowledge and experience. and correct as of the date issued. However. they shall not constitute a guarantee for any specific product features and shall not establish a legally valid contractual relationship. User is responsible for determining whether above mentioned product is fit for a particular purpose and suitable for user’s method of use or application.

REGULARS

Web reviews

CRAFTY İDEAS FOR ALL!WWW.CREATIVEBEADCRAFT.CO.UK

C reative beadcraft host a iovely web site packed with many different delights to help you

design and create fabulous pieces of jevrellery. Choose from ceramic, metal, shell, pearls, glass, wood and many other materials, shapes and sizes.

Creative Beadcraft Ltd, formerly known as Ells & Farrier, have been im porting beads, sequins, trimmings, im itation pearls, diam ante and jewellery com ponents into the UI< for över 75 years,The web site makes it extremely easy to browse their stock and make your choices. They are very conscious that beads have many uses and so cater for al! types of hobbies including embroidery, dress and costume making. If you

WWW.BEADAL0N.COMThis has to-be one of my favorite sites, there is ju s t so m uch to look at and learn w ith the 'how to' and tutöriaLs! If you are studc for a design just log in and look at the design workshop page where you will find some stunning pieces of jewellery to make, complete with instructions. On the same page, under the Vid-eos heading, there are dozens of tutorials which wiil auswer ali of your jewellery making questions. I firmly believe that your threading materials vvill either make or break your jewellery item. For this reason I think Beadalon will inspireyou to try using some very different stringing materials. The downside is that Beadalon do not seli direct to customers, but rather to retail outlets which are listed on the web site. Be sure to contact them if there is som ething that you want to try.

STRINGS AND THINGS

Best of the websLesley takes another look through the vast range of İnternet web sites that are there to help you buy and make jevvellery

prefer a catalogue to browse through rather than the internet, then for a small charge of £3.50 they vvill send you a full colour brochure. Keep up to date with new items and tools in their special 'New Products' page, a great idea!

FAIR COP, FOR FAIR TRADİNGWWW.BEADSUNLIMITED.CO.UK This web site offers so much more than just beads, it offers a complete package for the jew<;llery maker. Beads UnJimited have been in business since 1986 startiııg life as a very small shop in Brighton offering a mail order service. Their success reflects the hard work and dedication of the owners and staff and in providing a first class service to their customer. On the' web site you will find details of classes held, gift vouchers, details of their catalogue and a huge range of projects for you to follow, 1 was impressed to read their quest for fair trading and the way that they travel to ali parts of the globe to ensure that their suppliers are happy and treated fairly. Their range of beads andfindings are vast, with many pages of bright and colourful items to purchase - well done Beads Unlimited.

beads

CRAFTWORX: WWW.CRAFTWORX.CO.UK This is a web site with:-a difference, because it is a site specificaily for advertising amazing craft vvorkshops. Craftworx caught my eye with the delightful range of bead and art clay courses that cater for both the beginner and those who want to go beyond the basic skills of jewellery making, Foc the beaders amongst us, they curreııtly hold both basic and advanced classes in jewellery making, as well as a tiara vvorkshop where you can both design and create your very own piece. Wire work classes are offered using free form and equipm ent based designs, plus a course on using crystals in your designs to make stunning items of jewellery. If clay worl< is more your scene, there are a range of courses in both silver and bronze clay, from an introduction level up to certification course for teaching.

best of the restWWW.EMPfRCBF.AD5.CQ.UK

Empire beads offer a very bright and comprehensive web site which is packed fiili of beading and jewellery items, as well as tutorials for making both braceîets and necklaces that would make a İovely addition to your accessories range. At the time o f vvriting, Empire Beads vvere offering free first class postage on orders över £40 and vvere oııiy charging £ i for orders under £4-0

► W WW .HQBBYCRArT.CO. UK

This is a huge internet site whtch gives you a wealth o f information and products to purchase in their large range of shops. If you prefer to shop from the com fort of your own hom e then make sure you visit their new on-iine shop. Tlıere are separate pages for craft types such as model making, fine arts, jewellery, needlccraft and many more. If you stili can't fiııd vvhat you are looking for then the A-Z directory is an extremely useful option. For a perfect gift Hobbycraft have £5 and £10 gift vouchers on offer

EASY PROJECT

Celtic love knotThe interlacing pattern of this Celtic knot, with no beginning and no end, symbolisises eternity. By Tracey Spurgin / For

eternity!

materials:» 2 0 g A rt C lay Silver

» Roller

» 1.5m m spacer bars

» Brass brush

» Fileş

» Sanding grits

» Polishing papers

• C ra ft kn ife o r need le tool

» A little paste or syringe

• P aper to d ra ft p a tte rn

» B adger Balm

T racey is a senior A rt C lay instructor

w ith m ore ıhan tw elve years teaching

experience w h o delivers w ith passion

and enthusiasm, e ither resident at her o \vn

studio or travelling about the country. This

sim ple classic design starts w ith the inıage

then progresses w ith the versatile m edia o f

m etal clay to m ake an attractive pendent.

www.craltworx.co.uk

CONTACT DETAILS

v/ww.craltworx.co.uk

T r a c e y c r a lt worx.co.uk

07961 883115

62 m a k • rı q ı e w e 11 e t y

lAU

Rtl

OU

İLfO

YlC

. TR

ACtY

S

PU

RG

İN

STEP 1Dravv (or sourcc) a Celtic knot design on paper and use a Sharp craft knite to cut around the outline. Accuracy is key to the success of this piece. You need to also check the sym m etry of the outline - do

this by folding down the m iddle to

com pare the two halves.

STEP 5To make a bail, cut out a strip ol clay 0 .5cm w ide. Roll it över a straw and allovv to dry. Once dry. carefully remove the stravv. File and refine the bail and use a little paste to adhere

to the main body of the pendent.Dry once more.

STEP 2Use a little Badger Balm or olive oil on a work surface and roll out the clay to 1.5mm thick. Apply a generous coating of Badger Balm to the paper template. Use a needle

tool to cut around the outline and pierce into the clay to remove the apertures of the design.

STEİP 6Fire the whole piece in a kiln at 8 0 0 'C for 15 m inutes. A lternatively. torch fire for a m inim um of six m inutes or fire on the gas hob for about 10 m inutes. Ouench, wire brush, oxidize in liver of sulpher

and polish wi!h a soft cloth and m etal polish.

STEP 3VVhile the clay is stili sofi, use the

tip o l the needle tool to m ark out the design in the clay. Allovv this to dry thoroughly.

STEP AUse sanding grits and fileş to refine the outline and the apertures of the design. Then use a triangular file around the knotted design to

define the shape of the interlacing pattern . To add texture to the surface, use a needle tool to make small scratch lines following the

llow ol the knotted design.

Autumn/vvinter 2011/12

(ashion inspiration

designer tips- To c re a te th e scratch design. apply

a d a m p pa in t brush to th e su rface

of th e clay first; th is w ill m ake th e

scratch te x tu re easier to ach ieve

- B efo re using yo u r need le tool. d ip

it in to th e B ad ger B alm . İt w ill g lide

İlke b u tte r th ro u g h yo ur c lay an d not

leave any drag g in g

j ► ı r> ; , a • r y c m 63

boohoo.com Handbag by

Marks & SpencerBELOtt RICHT Trilby, £25, Accessorlze

} WEEKEND | p r o j e c t

Classic box bracelet

This classic box bracelet design has been made in silver clay

using a new approach By Tracey Spurgin

TR^C

EV

SPUR

GIM

. LA

URCL

G

WLf

OYL

E

designertips:*- Prepare some cork clay

spacers 1 or 2 days in

advance. Roll out some cork

clay Im m thick and cut into small İcm

sguares using the cookie cutters

STEP 4STEP 3

STEP 3Use the 2 sguare cutters to cu t out the links.

Repeat the process untıl there are 9 links. Embed

a small screw eye m to one side of one of the

links, then use a small am ount of clay to create

the bar. Once again. em bed a small screvv eye

into th e bar. These form the toggle and bar

festenıng. They w ill then need to be dried in the

öven at 130°C for 2 0 m inutes.

STEPİPrepare the clay by placing it into cling film.

Spread the clay out to gıve a larger surface area

ın the cling film. Add a dab of v/ater and fold the

clay w et side to wet side in on itself. Continue to

fold the clay in half to dısperse the w ater evenly

into the clay

STEP 2Use 2 identical texture plates. Coat them well

w ith a little oiıve oil, th en sandvvich the clay and

spacer bars behveen the texture plates. Roll out

to texture both sides of the clay.

STEP 5Rest the dried sguare links on the Im m spacer

bars e ither side of the clay strip. Thread the

soft clay strip through the 2 square links. Use

2 cocktail sticks to space the sguare links apart,

Rub a generous am ount of badger balm on to

the cork clay spacer then place the small cork

clay spacer over the cocktail sticks.

T racey delıvcrs a fu ll p rogram m e o f

silver clay vvorkshops in a varfety

o f venues from the N o r th W est to

the Yorkshire regıons. Slıe prides Iıe rse lf on

ru n n in g h ig h quality courses in a relaxing

aım osphere. Scudents are inspired and gain

know ledge and confidence in w o rk ing w ith

silver clay and Bronzcloy". I f you aı ö interestcd

in finding a class near you w ith quaJified tutors,

log onto w w w .artc layw orld .org .uk

MATERIALS 4 0 g S ilve r A r t C lay

» ım m sp ace r bar

* l .5 m m s p a c e r bar

♦ T e x tu re p la tes 2 x sm all screvv eyes

• 2 x Ic m ju m p rin g s

► R oller

* S y r in g e typ e

» B ad g er b a lm or o liv e oil

» W ate r

» Cling film

* C ra ft k n ife o r tissue b lade

* Sand'tng p a p ers o r g r ıts

W ire b ru sh

*■ S m all file

P a in t b ru sh

G as hob

«► M esh gı i d

• B u rn is h er

• L ıv e r o f su lp h u r

2 c m s q u a re co o k ie c u tte r

» 1cm s g u a re co o k ie c u tte r

STEP 4Once dry. file and sand the edges of the Imks

until sm ooth. Prepare the v/ork surface once

agaın. This tim e use the Im m spacer bars and

with a tissue blade or craft knlfe, cut a strip

of clay 0 .8 m m wide. Remove and store the

excess clay.

STEP 2

STEP 6W rap the clay strıp around the prepared cork

d a v spacer. Cut a diagonal line across the clay

and use paste or syringe to seai the }oin. Sm ooth

över the jo in w ıth a dam p fınger. Once again dry

İn th e öven a t 130°C for 2 0 minutes.

STEP 7

STEP 7When this ıs dry. rem ove the cocktail sticks and

cork spacer. Now fili, fite and sand Ihe piece until

it is perfect. using sanding grits and fileş. Repeat

the prevıous tw o steps until ali the links have

been )oined.

STEP 8Ensure the piece is dry before ıt is flred This

could be fired on a gas hob, vvith a torch, över

a m etal grid or in a kiln. Ouench İn water. Polish

w ith a w ire brush. To hand polish use polishing

grits o r use a polishing m achlne ıt you have one.

STEP 9To com plete the piece, use the jum prings to link

the bar fastening to the last sauare link, then

oxidise with Liver of Sulphur in a littfe warm

water. Finısh wıth a little silver polish and cloth

and buff up to a high shlne.

resourcesProject kits are available on request.

Contact detaıls for fu rth er inform ation on

ali vvorkshops are listed beJow.

CONTACT DETAILS:W EB SIT E: ww w.c ra f t wor x .co.uk

EMAIL: tracey<Ş!craltworx.co.uk

TEL: 0 7 9 6 1 8 8 3 1 1 5

I lovv to wear your bracelet

A m o d e rn a r ty h a n d m ad e

brac e le t deserves w e ll cu t, s ta te m e ııt c lo th in g . L.et th e

d e s ig n er w ith in express h e rs e lf and dare

l<> be d itfc rc ıu . G e o m c tr ic p a tte rn s , unusm ıl l'asleners, p leats , a p p liq u e and

te x tu re d fiııishes.

Neutrai pleat walst tio trouser £89. Silver cami £29, Pagoda shoulder black jacket £99 from Principles . ‘OMT Mock croc turnlock handbag

from Primark £6- : OVE R!' ı . Black Manhattan leather belt from Johnny Lovos Rosie £60

32

The Indian culture.is rieh'in colours, patterns and textures, I feel this desigto reflects the essence and flavour of this

exi)trc çuîture/By l/a c ev Sodrai'n

A D VAN C ED PR O JEC T

\ N E E - K E N OPROJECE ruh so many detailed elemonts to W a te r

\ X / the pendant 1 simply hung II on a •* Cling film

V V silver w ire. İt uttracts In trlgue from » S an d ln g p a p e rs o r g r its

admıreıs. 1 l\ave had these small glnss cıbochons * W ire b ru sh

ınade for me by a local glass artist. They add ► S m a ll file

beautiful colour and dimeıısion to complement P a in t brush

the sılvçr 1 have h.\ci great fun deslgning wıth •* Stravv

Ihese m in i dıcros. * Gas hob

» M esh g ridMATERIALS • 4 m m cz s to n e

* 2 0 q A rt C lay S ilve r • S m a ll d ich ro ic glass ca b o c h o n

•* SnaKe ro lle r A sso rted g ran u le s

• S yrin g e ty p e

STEP 1 STEP 2 STEP 3

t o

'djS T E P İOpen the 2 0 g packel of clay and place dıreclly

in to cling film. Greak off aöout l /5 th of the clav

^nd use your finger lo start to roll into a snake.

Use a snake roller to rock from left to right over

the clay to achıeve the clay rope. Taper one end

to a fine tıp.

STEP 2Use a dam p paint brush to neip plck u p the clay

rope. A rrange İt around the glass cabochon and

cz stone Set this asidp and allovv to <Jry.

STEP 3To create the base plate, prepare the rem ains

of the d a v in cling film and add a dab of water

Geotty massage th e water m to the clay.

STEP 7 STEP 8 STEP 9

STEP 7Remove any excess ciay that m ay have

dccum üated usmg a cocktail stick. Ensure

that üoth the cz and the glass cabochon are

com pletely dean .

STEP 8To make the bail at the back of the piece, roll

ou t sorne clay Use a craft knife or tissue blaûe

to cut a small reetangle. Flnd a small ob ject lo

drape the clay over; hero l have used th e handle

of a small file. A»ow to dry.

STEP 9Once dry. file and sand the edges to

a sm ooth finish.

resourcesProject k ils and ciasses are avaiiab le on

reouest. Piease contact for fu rther detaits

on ali workshops:CONTACT DETAILS:

tracey9craftv«DrxjCO.uk

www.craftworx.co.uk

TEL: 07961 883115

designcr tips:• To achieve an even clay

rope. hold the snake roller

horizontai bul. to tapcr the

clay. tilt the snake roller on a slight angle to t«j|M?ı out the edge

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STEP 4Use l.bm m spacer öars to roll out the clay.

Use <ı little oil to lubrlcate a texture plate and

press tirm ly into the clay. Carefully cut oul with

a cookle cutter. Store any excess clay and allow

the piece to dry.

STEP 10

STEP 5 STEP 6

/< oSTEP 5 STEP 6Once dry. file and sand to refine the shape. Use Create the qranuies by recycling scraps of flred

the syringe to adhere the focal cabochon to the silver. Break any scraps in to small pıeces and

base p late. Tire them w ith a torch. These will rnelt in to balls.

Ailow them to cool before using the syringe to

adhere th e granules to the piece.

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platforms £94.99 River Island

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STEP 10Apply a small am ount of th e syringe to adhere

the oaıi to th e back of the base plate.

D ry anc file or sand if needed.

STEP 12To s tart the polishing. use a w ire brush. then

progress to sanding grits or a pohsnmg machıne.

Oxldatıon is optional. Finish w lth a small am ount

of silver polish and a do th .

STEP 11This can be tired on a aas hob or ın a kiln in

the usual w ay but it must be allowed to cool

naturally o therw ise the glass will crack.

Vi w >flr r o j k ı n ç ı c ' i e l ' c r v c o m 49

Fine silver ııestinıi rin

A regal looking nesting ring combines texture and high polish with a small CZ stone setting to make this very romantic piece of jewellery. By Tracey Spurgin

T racey dellvers a full program m e o f silver clay

vvorkshops from her ow n studio in Yorkshire

b u t travels faı and vvide to other venues,

such as colleges. gallerles and a it centres, to deliver

a range o f vvorkshops that appeal to the com plete

beginner as w ell as tlıe progressıng enthusıast Learners

are inspiıed and gaın knpwledge and conhdence m

w o rk ing w ith m etal ciay.The tw o halves o f this ring

have been treated vvith contrasting texture and styling,

hovvever, jo ined together they com plem ent each other

to create this stunning look. I f you are interested ın

lın d ın g a silver clay class near you vvith qualified tutors,

log on to w w w .artclayw orld .org .uk.

ian\DEA'.

MATERIALS• 10g Silver A rt Clay

Roller"• A little syringe type *■ Paste type» Badger balm or olive oil » Water

Clay pıcks or craft knife •> Tissue blade

Sanding grits ► Polishing papers

Wire brush Small file

» Paint brush » Ring mandrel

Ring gauge* Ring papers- 4 x 2mm clear CZ stones

16 w w w nn a k ı rı g j ? w e ( l e r y c o m

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STEP 1 STEP 1Start by preparing the ring mandrel, use a ring gauge to determine your chosen ring size, Size the ring three sizes bigger to attain the correct finished size. Mark the mandrel with a pencil and tightly wrap ring paper at the correct point.

designer tips:»■ Nesting rings are fun to make,

adding contrast to each halt of the ring really emphasises the design

•- When firing rings, loosely insert a roll of fibre blanket into the ring shank to retain the shape and prevent slumping

resourcesThe clay is available to purchase Via email. Contact details for further information on ali workshops or 1-2-1 tuition: tracey@craftworx.co.uk www.craftworx.co.uk 07961 883115

STEP 2Prepare and roll out the clay using 1.5mm spacer bars. The band needs to be approxımately 1.25cm wide.

STEP 3Wet the paper on the mandrel and wrap the clay strip following the guıde line on the ring papers. Use a tissue blade or craft knife to cut through the clay on a diagonal.

STEP 7

STEP 4Seal the join with a small application of syringe or paste then smooth to a seamless join.

STEP 5While the clay is stili soft, use a craft knife or clay pick to cut into the clay to create the two separate halves of the ring. Allow this to dry completely then remove it from the ring mandrel. Sand and file the whole of the ring to refine the edges and finish.

\\

STEP 6For one sectıon, replace ıt back onto the mandrel for support then apply a generous amount of paste type onto the outside of the ring. Gently pat the wet paste onto the ring until the clay starts to get sticky. This creates the stippled textured effect. Once again allow to dry thoroughly before sanding and refining again.

STEP 7The second half of the ring has been polished with polishing papers to a smooth finish. Using a fine drill and stone setting bur to drill the cavity to receive the small 2mm CZ stones, the stones need to be set so the table of the stone sits flat and level with the surface of the clay. This allows the clay to grip the stone during shrinkage when firing.

STEP 8Check that the rings sit neatly together. Now fire the piece either using the blow touch, gas hob or kiln firing method. Once fired do not guench the ring as this could give the stones thermal shock and will break or damage them. Allow the rings to cool slowly.

STEP 9Once fired, wire brush, then progress through the sanding grits and polishing paper to achieve the desired high shine. Lastly rub with some silver polish and a soft cloth. Place the ring in a velvet lined box and wrap it neatly in hand made papers, ready for your Valentine.

STEP 9STEP 8

w w w rfı a k i o <31 * W 5 11 e r v 17

rl^MNTERMEDlATE PROJECTy j? ^

t .v ? ’ <4 ^

lmst\ icicles

resourcesMetal clay and tools: www.cooltools.us (USA) www.craftworx.co.uk Crystals:www.beadsolutions.co.uk

CONTACT DETAİLS www.craftworx.co.uk tracey@craftworx.co.uk 07961 883115

MATERIALS40g A rt Clay Silver Roller

*• 1nnm spacer bars »• Cool tools shield tem plate •- Brass brush •- Polymer clay •- Fileş► Sanding grits *• Selection o f beads and

find ings fo r s tring ing

A frosted icicle collar with silver clay and shimmering crystals. By Tracey Spurgin

T racey is a senior A rt Clay instructo r w ith m ore than ten years teaching experience who

delivers w ith passion and enthusiasm .A photographer friend asked for some jewellery for a m odel shoot w ith a snow queen them e. This is the design that 1 cam e up w ith for him and it fit the them e beautifully. 1 thought it w ould make a great project for a İovely piece w ith a w intery feel to vvear w ith an evening outfit.

16

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STEP 1

STEP 1Start with a small amount of polymer clay to create a sculpture form which the Art Clay will be formed over. Each of the finished beads will be graduated in size, so each form has been individually made to make each bead irregular in shape and size.

STEP 2Roll out the clay between 1mm spacer bars. Use the soft brass brush and gently bounce the brush onto the surface of the clay to give the stippled look. This will create a frosted textured surface.

STEP 3Use the Cool Tools shield template or simply create your own paper shape, then laminate it and cut out carefully vvith a craft knife.Dip the clay pick into Badger Balm, run the pick around the rim of the template to cut cleanly around the clay.

STEP 4Ease the clay off the work surface and onto the polymer clay sculpture form. Ensure the edges of the clay reach the work surface vvith no visible gaps.

STEP 5 STEP 6

STEP 5Repeat steps 2 to 4 for each graduated bead. Set ali the pieces to dry thoroughly. At this stage make the additional beads or components for matching earrings or an arm cuff, use the extra project instructions to make sure the holes are in the right place for stringing.

STEP 9

/

STEP 6Once dry, sand the lower edge of each of the beads to make them flat and smooth. Roll out the remaining clay using Imm spacer bars and brush over the surface vvith a little vvater. Press each sculpted bead top onto the surface of the vvet clay and press down firm ly for several seconds. Remove the excess using a clay pick and set to dry again.

STEP 9Once ali the pieces are complete, fire them using your preferred method. Here, the pieces have been fired in a kiln at 850°c for 30 minutes. Once fired, the pieces simply need wire brushing vvith a soft brass brush under soapy warm vvater, then gently burnish using an agate burnisher if desired. String vvith crystals and a clasp to finish the necklace.

STEP 7Use a guide to drill or file out holes in the side of each of the beads. Ensure the position of the holes match vvith each bead. Take care not to press too hard as this can easily crack the clay. Gentle pressure slovvly gets the job done.

aaıtH ■»Iflr lılM ıü l

STEP 8Refine ali the edges and the back of each of the beads vvith sanding pads, fileş and polishing papers.

J S *Make a bracelet & earrings

The matching earrings and bracelet cuff are made using the largest bead template. Add a point to each end of the bead. The earrings have one hole drilled at the top for hanging on earvvire and the bracelet cuff has two sets of holes to string it using stretch magic and crystal beads

w w w m a k t n g j e w e 11 e r y c o m 17

FEATURE

Workshop review

p o ı v d e r e d /m e f c (d

c l a y 'u r o r h v k ö p

Metal clay pioneer, Hadar Jacobson travels across the Atlantic to share her knovvledge with students at the Craftworx Studios. By Tracey Spurgin

After a long year of planning, I was thrilled to welcome Hadar Jacobson to Craftworx studio to deliver two,

three day back to back vvorkshops in mixed metals. Hadar is an American who has been a pioneer in developing and vvorking with her ovvn brand of metal clay powders, she has vvorked intensively and been immensely generous in sharing her research and development of her products, techniques and her art. She regularly posts ali her fındings on her blog www.artinsilver. com/blog. This ongoing research record has been a source of inspiration to many metal clay artists.

The first thing that needed to be checked before the students arrived was the kiln. Hadar tested to check the sintering process, as each kiln can be different and even the location can affect the firing process. As the students arrived they had a great opportunity to look at Hadar's work, she had brought a selection of her finest jevvellery and art samples with her. Hadar formally started the day vvith a pıesentation of her work, then vvent on to dem onstrate how to mix the metal clay powders to the correct consistency. These clays are ground to such a fine powder, that they mix to a sm ooth paste, which can be rolled out to a very fine, thin layer.

resourcesTracey Spurgin www.craftworx.co.uk Hadar Jacobson www.hadarjacobson.com

em bedded in the carbon. Hadar was careful not to overload the Container or the kiln. The p la c e m e n t of the pieces within the C o n ta in e r

and the kiln were key to the success of the firing, not too close to the edge and not near the door. The quick fire copper and bronze pieces stili had a firing schedule of around two hours.After the firing had finished the pieces needed to be polished. H adar’s preferred m ethod is to use hand held rotary tools vvith sanding grits, working through the progression of grits to achieve a smooth finish. To bring the contrast of colours out of the bronze and copper, Hadar used Bakhvin’s patina.

Combining copper and silverNext we made copper pieces; this technique vvas for combining copper and silver. The copper element needed to be made and fired first, then the silver vvas vvorked onto or around the copper to form a mechanical connection as the silver and copper vvould not sinter. The silver was applied, dried and refined then hand torch fired into place. W ıth three days available to work we had plenty of time to experiment vvith lots of samples.

Finally we used Hadar’s Steel Clay, as Stee l is magnetic vve made simple clasps that featured a magnet set into a bezel cup. The firing procedure for the Steel is long and requires around 1000°C. W ith four kilns on the go and very hot vveather the kilns vvere moved outdoors. They vvere closely monitored as the extreme tem perature had flames leaping out of the venting hole at the top of the kiln.

Each of the three day vvorkshops passed quickly and vvith heads full of ideas and a box full of samples everyone left with a better idea of hovv to get the best results out of H adar’s povvdered clays.

Steel clay

Hadar’s unique firing methodThe most exciting part of the vvorkshop for me was the knovvledge that as the bronze and copper metal clays are totally compatible they can be vvorked together creating vvonderful colour combinations. We vvere able to vvork on sample pieces, to experim ent vvith the various combination m ethods that Hadar had demonstrated.Once our range of samples vvere ready to fire,

Hadar showed her unique firing m ethod of making a Container from fibre blanket, stitching up the corners vvith binding vvire, making sure the fibre blanket vvas handled with mask and gloves. The C on tainer vvas filied vvith coco shell carbon and then the pieces vvere carefully

w w w m a k i n g j e w e l ! e r y c o m 47

FEATURE

Workshop review

Fun with metal claySian Hamilton attends a spinner ring vvorkshop with metal clay guru Hattie Sanderson, hosted by Tracey Spurgin at the Craftworx studio set in the beautiful East Yorkshire countryside

clay making experience. The m ost irsnovative is her HattieS Patties, these are ring sizing inserts that assure proper ring sizing as the metal clay shrinks during firing, so your ring always comes out of the kiln the size you want. The patties were born out of H attie’s fm stration w ith rings shrinking to various sizes during firing based on the variables of ring thickness, width, inclusions ete. After the quick intro, Hattie sat us down to the first dem onstration of how to make the ring shank w ith a tapered belly so they sit comfortably on the ftnger and then how to embed a miniature nut into the top of the band to take the thread and keep the beads in place.

H a ttiA , d m u > P is tra £ İH j

I have a Iove of M etal Clay, I believe it is one of the greatest produets that has been introduced to the jewellery making comm unity for a long time. It alIows novices the ability to work in silver w ithout the need for extensive silversmithing skills or the need for a lot of equipment. So I was very excited when Tracey Spurgin invited me to attend a workshop a t her Craftworx studio in East Yorkshire with the metal clay guru Hattie Sanderson.

Meeting the İovely Hattie Hattie is from the USA where metal clay

has been widely available for över ten years, the prem ier metal clay artists are mostly from America and I was quite excited to m eet Hattie in person. She is not only an outstanding metal clay artist but as it turns out is a very nice person as well! The course I attended was spinner rings. Hattie has designed a ring that has com ponents which are free moving, that sit on the top of the band attached by a screw thread and nut that is em bedded into the band.

Introducing HattieS PattiesThe day started with an introduetion from

Hattie and a little about her back ground, which alone is very interesting as she is a metal clay ’entrepreneur’ having developed a range of great produets that enhance the metal

Getting stuck inThe explanation and dem onstration were

very straightforward and along with a comprehensive standout, we vvere ali raring to have a go. The m orning was spent making the ring shank with the nut embedded, creating nu t covers and ıvashers and making bolt heads. H attie’s way of making a ring shank is very easy and she has a special way of making the join strong and easy to elean up. Some of the com ponents w ent into the kiin whilst we were at luneh. Following lunch Hattie did her second dem onstration to complete ali the instructions for the ring. During the afternoon the rings were fired with the HattieS Patties in place. By the end of the day we ali had a spinner ring finished wıth our own components.

The day went very quickly and Hattie was on hand to help out whenever needed. Tracey was an excellent host and her Craftworx studio is very well equipped w ith a range of produets available to buy on the day if you run out.Tracey runs a comprehensive range of workshops through the year, to find out more visit her website,

CONTACT DETAİLSTracey Spurgin, Craftworx - www.craftworx.co.uk Hattie Sanderson - www.hatties3nderson.com f i a r d

62 w w m a k ı n g ı e w o ı l e r y c o rıı

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Leaf charm braceletThe warm and vibrant colours of falling autumn leaves inspired this piece of jevvellery. By Tracey Spurgin

nrı f racey delivers a full atmosphere. Learners areprogram m e of silver clay inspired and gain knowledge andworkshops in a variety confidence in working w ith metal

ofvenues. From the N orth W est clay. To find a class near you vvithto the Yorkshire regions, Tracey qualified tutors, visit:prides herself on running high www.artclayworld.org.ukquality courses in a relaxing

Alternative coloursThis charm bracelet is coloured with warm autumnal tones but you can make it in cool tones for a wintery look.

30 w vv w m a k n g ] o w e 11 e r y c :c> m

STEP 1 STEP 2 M STEP 3MATERIALS► 20g Sîlver A rt Clay

Roller •- Syringe type • - Badger balm or o live oil *- vvater • - Cling film*- C ra ft kn ife o r tissue blade *- Sanding papers o r g rits •- W ire brush •- Small file •- Paint brush •- Skeleton leaf • - Cookie cu tte rs

A selection o f beads *• S terling s ilver bracelet •- S terling s ilver jum prings and

head pins »- Gss hob »■ Mesh grid • - UV resin *- UV co lo ran t •■ UV ligh t box

STEP1Use 20g of slow dry clay and place directly into cling film . Prep3re this by adding a few drops of water and massage the water into the clay.

STEP 2Roll it out using 1mm spacer bars, use a skeleton leaf to add texture.

STEP 3Now use a variety of leaf shaped cookie cutters to make a selection of charms and bead caps.

designer tips:• -If you are serious

about working with silver clay a UV box can also be used to make photo polymer texture mats making it a worthwhile investment

•-Cookie cutters are great for creating nest shapes quickly and easily. They can also be used with bronze and polymer clays

•- If you don’t tıave any UV colours, acrylic paint will afso add colour to the resin, but only use the colour very sparingly

©

STEP 5

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STEP 4Allow these to dry before filing to refine the shape and finişti.

STEP 5Drill holes into the charms before firing. Now fire the pieces and polish them to a high shine.

STEP 6Using UV resin colourants, pour a few drops onto a piece of foil.For mrxing colours start vvith the lighter of the two colours and add the darker colour to it in very small quantities. The tip of a cocktail stick might be enough. Keep mixing until you have your required colour. These colours are very strong so only mix very small amounts.

STEP 7Now squeeze out a pea size amount of the P2 UV resin je lly onto a piece of foil. This is a clear je lly and can be used clear but, to add colour, dip the tip of a clean cocktail stick into the prepared colour and mix it into the jelly. Don't adü too much colour as the resin will not cure very well.

STEP 8

STEP 8Pick up the coloured jelly on the cocktail stick and allow the gel to gently drîp off the stick onto the prepared leaf charm. Be careful not to flood the piece. Any excess resin will need to be removed with a baby wipe before curing. Use the very tip of the cocktail stick to help move the resin into the awkward corners. The resin will selfTevel so ensure to place it on a flat and even surface.

resourcesProject kits are available on request www.craftworx.co.uk For further information on ali vvorkshops:Email: tracey@craftworx.co.uk Tel: 07961 883115

STEP 9

fashion tips:

T his bracete t will appeal to rom an tic , natural and classic

vvomen. The: ro m an tic appeal is in the charm s, the co lours are classic and the design in sp ira tio n is natu ral th u s m aking it a versatile piece. The b racele t holds considerab le visual appeal especially w ith th e add ition of the pearls

AUTUMN 09 FASHİON İNSPİRATİON

STEP 9Finally the resin will need to cure under a UV light. Using this light box, it only takes about 5 minutes for the resin to cure hard. To complete the look use a seleetion of beads and pearls. These have been added vvith headpins and secured with a wrapped loop. The silver leaf charms are attached using head pins.

Belinda dress £99, Annabe! peeptoes £85 Phase Eight Suede shoe boots £69.99 Schuh ' Sı ■ { M î;

Amber and gold vine gem ring £14 Accessorize

32

:rm ediate PROJECT

materials

Make a wish

20g A rt Clay Silver Roller2.5mm spacer bars Brass brush FileşSanding grits Polishing papers Star and circle cutters A little paste or syringe3 x 2mm CZ fireable gem stones 0.5 mm drill bit 2mm drill setting burr Graining tools

CONTACT DETAILS Tracey@craftworx.co.uk 07961 883115

This heavy silver star features delicate pave set gem stones. By Tracey Spurgin

Tracey is a senior Art Clay instructor vvith more than tvvelve years teaching experience who delivers vvith passion

and enthusiasm at her own studio or travelling about the country. “One of my friends celebrates a special birthday soon and at the same time she is making some big changes in her life,” says Tracey. “So this 'make a wish' piece was made vvith her in mind." The pave setting is a traditional m etalsmithing technique that used the gains to hold the stone in place. This version is suitable for use vvith metal clay.

www.craftworx.co.uk

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STEP 1Prepare the work surface and the two star shaped cookie cutters using a little Badger Balm. Roll out the clay 2.5mm thick.

► ^

To set the gem stones, use a pencil to draw the placement point for the stones. Use a 0.5mm drill bit to drill ali the way through the piece, now use a 2mm drill setting burr to create the perfect size base to house the 2mm gem stones. Ensure the table or flat top of gemstone sits level with the surface of the clay.

STEP 2Position the two cutters one inside the other. Try placing the rubber block on the tvvo cutters to cut both shapes at the same time.

STEP 3Remove the excess clay; the clay often sticks into the points of the star, use a soft paintbrush liberally loaded vvith Badger Balm and gently use the brush to ease the clay out of the cutters. Leave the centre star in position. This can be use as another element for a different project.

STEP 4Use sanding grits and fileş to refine the outline and the aperture of the design and then use a triangular file into the points of the internal star to define the shape. Use polishing papers to smooth the surface and refine the piece.

STEP 6Add a little detail to the back of the piece, by scribing in a saying or personal message. Use a damp paint brush över the area to scribe, then use a needle tool or scribing tool to etch out the 'make a vvish’ message. Allovv to dry and clean up vvith polishing papers.

STEP 9To create the pave setting use graining tools. Select the reguired size, push the tool into the handle, position the tool near to the rim of the stone setting push dovvn firmly and make a gentle rotation; the soft fine silver creates the gain bead impression. Continue and repeat this until you have completed the section.

STEP?Make a loop to hang the piece, by rolling out clay 2.5mm thick. Use tvvo circle cutters to create the loop, allovv to dry and refine vvith sanding grit and polishing papers. Use a little paste or syringe to adhere the loop to the star. Allovv to dry.

STEP 8Fire the piece, either vvith a torch or in a kiln 800°C for 15 minutes; do not guench, allovv the piece to cool dovvn slovvly. Polish up using polishing grits papers or using tools and devices.

Spring/Summer 2012

fashion inspirationPeep toe heels, Bank Fashion Envelope clutch, £19.50, Marks & Spencer

w w w . m a k i n g j e w e l l e r y . c o m 45

Original data written: Jul.24th, 2012 A ida Chemical Industries Co., Ltd.

Material Safety Data Sheet

1. Product and Company Identification

Product name:Art Clay Silver Clay Type Art Clay Silver Paste Type Art Clay Silver Syringe Type

Manufacturer: Aida Chemical Industries Co., Ltd.Address: 6-15-13 Minami-cho, Fuchu-shi, Tokyo Contact Department: Product Development Department

Telephone: +81 (0) 42 334 6319 Fax number: +81 (0) 42 224 6359Emergency contact: +81 (0) 42 366 8751 (DAC Overseas Division)Office hours: 9:00am - 18:00 pm(Except Sat. Sun. National holidays, Summer, and new year holiday closures)

2. Composition, İnformation on Ingredients

Classification of Product: MixtureChemical Nature: Silver (Ag) and Binder (Organic materials)Ingredients (% by wt.): Silver 80-95% and Binder 5-20%Official Reference Number: Silver: N/A, and Binder: N/DCAS Registry Number: Silver: 7440 - 22 - 4, and Binder: N/DDangerous Possibility: N/D

3. Hazardous Identification

Toxicity:

Environmental Effects:Physical and Chemical Hazard: Adverse Human Health Effects:

Classification system:

Possible irritation to the skin and mucous membrane, irritation of upper respiratory depending on the working environment.N/DAvoid contact with a strong acid and strong base.Possible color change on mucous membrane for eye(s), nose and throat, and chronic irritation of respiratory organs, caused by long period use depending on the working environment.N/D (Japan Standard Classification)

4. First A id Measures

Inhalation: Blow nose and gargle. If signs / symptoms occur, remove person to fresh air. If signs/ symptoms continue, call a physician.

Skin Contact: Wash well with soap and water.Eye Contact: Immediately flush eye(s) with plenty of water until no foreign body is felt. Get

immediate medical attention.Ingestion: Wash your mouth well with water and gargle. Get medical attention if necessary.

5. Fire-Fighting Measures

Extinguishing media: Water, Dry chemicals, CO2Specified method: In case of a small scale fire, use water, dry chemicals or CO2. In case of a larger

scale fire, ware protective gas mask and use water spray method.

6. Accidental Release MeasuresHealth measures: Put on dust protection mask, goggle and gloves if necessary.Environmental measures: In case of large release, do not release to a sewer or natural environment. Removal method: Remove by vacuuming or map with a cloth, and then wash.

7. Handlina and Storaae Handling:

Storage:

Wash well with soap and water after skin contact. Put on dust protection mask, goggle and gloves if necessary.Keep in cool and dark place avoiding direct sunlight.

8. Measures for Protectina ExposureMeasure to Install: Install ventilation system near the working area if dust occurs.Protections: Put on protection mask, glasses, and gloves.Hygienic Practice: Wash thoroughly after handling.

9. Physical / Chemical CharacteristicsAppearance: Color / white, Order / noneBoiling Point: Silver / 2155°C / 3911°FMelting Point: Silver / 961°C / 1761.8°FSolubility: Silver / insoluble in water / soluble in nitric acid

Binder / soluble in waterFlash Point: Silver / none

Binder / 300-400°C / 572-752°FCombustible: Silver / incombustible

Binder / combustible

10. Stability and ReactivityStability: StableHazardous Reaction: Silver reacts with acetylene to form sensitive chemical compound, reacts with

acid to cause high heat, and reacts to condensed hydrogen peroxide to form gaseous oxygen. Dry silver clay reacts with ammonia to form explosive compound.

Condition to avoid: High temperature / high humidityHazardous decomposition: None

11. Health HazardAcute Toxicity: N/DSkin Corrosion: Possible irritation to the skin and mucous membrane.Inhalation: Possible irritation of upper respiratory including soreness of nose and

throat, coughing and sneezing.

12. Ecoloaical InformationMobility: May release in dust form in the air depending on the working environment.Contamination: N/DDecomposition: N/DBioaccumulation: N/D

13. Disposal ConsiderationDisposal method: Following the handling of general industrial waste according to the

instruction of the local authority.

14. Transportation InformationInternational Regulation: Transport in accordance with federal, state and/or local regulations.Transportation Consideration: Avoid high temperature, high humidity and shock on the container.

15. Reaulatory InformationLaws of Labor, Safety and Health: Silver / reporting material (#138 / silver and its water-soluble

compound - under 1% inclusion)Pollutant Release and Transfer Register:

Silver / Category 1, Designated Chemical Material (#64 silver and its water-soluble compound - over 1% inclusion)

Ordinance Review for Regulation of Dangerous Substance, Chapter 1-12:Binder / Designated combustibility synthetic resins (other category)

*Ensure this product in compliance with federal requirements and ensure deformity to local regulation and law.Other InformationReference: Chemical Encyclopedia (KYORITSU SHUPPAN CO., LTD.)

Chemical Merchandise of 12394 (THE CHEMICAL DAILY CO., LTD.)Website of Japan Chemical Industry Association(JCIA) http://www.nikkakyo.org/ National Institute of Technology and Evaluation (NITE) http://www.nite.go.jp/

JIS Z 7250 (Japanese Industrial Standards Z-7250)Fire Precedent: None

This Material Safety Data Sheet is complied with JIS Z 7250 and formatted as same as ISO11014-1.These data are based on our present state of knowledge and experience, and correct as of the date issued. However, they shall not constitute a guarantee for any specific product features and shall not establish a legally valid contractual relationship. User is responsible for determining whether above mentioned product is fit for a particular purpose and suitable for user’s method of use or application.

FEATURE

Metal clay uide

There are now a wide range of metal clays available to buy! Tracey Spurgin gives you an insight into the various different types

Silver clayTwo different companies create versions of silver day. Precious Meta) Clay (PMC) is made by Mitsubishi and Art Clay Silver is made by Aida Chemical. Both clays work in very similar ways and result in very similar finished pieces. They both have torch and kiln fi re ab le products, A rt Clay Silver can also be fired on a gas hob. There are a variety of products available from both brands including lump clay, syringe, paper/ sheet and paste. Silver day is very easy t o use and re su İts in a finished product that can be hallmarked 999 fine silver. To get the strongest end piece silver clay should be kiln fired for about 2 hours at between 850 to 900 degrees.

Gold clayW hile gold clay is available in both silver day

brands due to its high cost it’s only used very sparingly. Generally pieces are made using both silver and gold, the gold element of the piece ıs made and fired then the silver element is added, The techniques of adding gold paste or gold foil using the m ethod of Keum Boo is a less expensive aJternative.

Bronze cla\Bronze clay comes in three different brands.

RİO BRONZclay", Prom etheus bron2e and Hadar Jacobson’s Bronze clay.

Bronzclay has a thick heavy consistency that feels dough-like to vvork vvith. It can be shaped, moulded and sculpted using S ta n d a rd metal d ay tools. Pieces require firing in a kiln, buried in coconut shell or activated carbon ıvithin a stainless steel Container. The firing schedule is lon ger t han silver and requires slower ramp times. In July 2010 a newer fast fire version vvas launched.

Prom etheus bron2e has a soft finer feel that handles and shapes well. İt comes both in a lump clay and a syringe version. It has a sigrıificantly lovver firing time and can be fired vvithout the need for the carbon and Container, though it needs vvrapping in paper :owel or fibre blanket.

Hadar Jacobson's Bronze day comes in a tube and is in the form of a fine povvder. It needs to be mixed up vvith distilled vvater to make a thick dough İlke consistency and rolled to condition. The fine qualıty of this clay means it can be rolled out to a very thin sheet and m anipulated almost like fabric. It fires best in coconut shell, in a fibre blanket Container.

A quick fire version is available. See Hadar's blog for more information, visit www.artinsilver. com/blog.

Copper clayCopper clay also comes in three different brands. RlO COPPRclay~, Aida Copper Clay, H adar Jacobson's C opper clay.

Copprclay can be manipulated like the o ther metal clays. The firing schedule is the most significant differenoe. It can only be fired in coconut shell carbon, vvith different firing schedules depending on the purpose of the finished piece. Ali the firing schedules are included vvith the purchase of the d ay in the packet. The fast fire version is due out in O ctober 2010.

Aida co p p er clay is sim ple to vvork vvith. İt has a good soft p u tty consistency, is easy to mould, shape and m anipu late, vvith ali the usual metal clay tools. The best quality of this product is that it can be torch or kiln fired. Kiln firing can be stra igh t onto the kiln shelf vvith no need for carbon or Container.

Hadar jacobson’s Copper day comes as a povvder and vvill need to be mixed into the d ay form. W ith the same qualities as the bronze day, it can be fired in the fibre blanket Container,

in the coconut shell carbon. H adar’s two clays can be com bined to create interesting results.

» Firing in a stainless steel Container can leave some small black deposits in the kiln. These deposits are oxidation built up on the stainless steel Container that has just flaked away. They can be easily removed vvith a vacuum cleaner once the kiln is cool

» If using the fibre blanket, vvear a safety mask, goggles and gloves as the fibres can irritate the skin and also can be carcinogenic

» Ali the recommended firing schedules are given as guidelines only. Each kiln may differ slighüy enough to affect the sintering process

» Allitude can affect the firing of pieces. İn the UK just a fevv degrees can make a difference

resourcesTracy Spurgin: www.craftworx.co.uk Hadar [acobson: www.artinsilver.com BROMZelay" & COPPRclay" www. bronzclay. co m General Metal day info: www. metalci ay academy.com

14 w w w . m a k ı n g j e w e i l e r y c o f f l

TtnC M ring bro n z*

A r t C la y p & Û M t

GUY

LAW

RENC

E, L

AURE

L GU

ILFO

YLE

(PEN

OANT

BY

LESL

EY

MES

SAM

)

ADVANCED PROJECT

Opulent earrmss

1950s inspired!

Fold metal clay sheets to create these fifties inspired earrings. By Tracey Spurgin

T racey is a scnior Art Clay instructor vvith more than twdve years tcaching

experience who delivers with passion and enthusiasm, either at her own studio or travelling about Ihe country.

Follovvıng the end o f the war.

1950s jewellcry \vas bascd on chunky,

colourful and heavy beading. This piece

was inspired by 50s Am erica where

influences in jewellery design were far

more opulent and elegant. th is simple

dassic design is technically challenging

in clay, w ith prccision foldıng o f wet

clay and intricate stone settings.

STEPİCreating the paper pattern to use as

a template, measure and cut a cirde

6cm in dlameter. Fold the circle in

halt until you have 16 equally spaced

told lines radiating (rom the centre to

the circumference wall. Ensure each

ol the folds is crisp and sharp then

acutely fold in a fan style. Open out

the paper.

STEP 2Cut the paper pattern İnto 4

quarters. Next. start a cut from one

straight edqe approximately 1/3 -1 /2

ol the way in from the circumference

edge. cut in an arch to the tip of

the opposite side. Apply a generous

application of badger balm to the

paper pattern.

STEP 3Work very quickly as the clay will

want to dry out and crack. Roll

the clay out .75mm. Lay the paper

pattern on top ol the clay and gently

roll out once more, this will help to

stop the paper from moving while

you cut around the outside edge. Use

a needle tool or cralt knife to ensure

the cut lines are sharp and accurate.

STEP 4Use a tissue blade to gently lift the

whole piece away from the \vork

surface, use the folds İn the paper as

guidelines to fold the clay into this

attractive fan design. Set aside to dry.

STEP 6

STEP 5While the clay is al the leather hard

stage, gently ease out the paper, this

will allovv you to refine this once it's

fully dry. Allovv to dry thoroughly.

STEP 6To prepare the stone setting. roll out

m ore clay 2m m thick. Place a piece

of cling film över the clay and use a

4m m circle cutter to cut out the d ay

this vvill leave a gentle domed edge.

Pierce a hole into the centre of the

piece. Allow to dry.

STEP 7 1 J

i * 1

STEP 8

STEP 7Use a 2m m drill setting burr to drill

into the clay to create the recess (or

the stone. This is a 2m m CZ clear

fireable gem stone.

STEP 8Sand, file and refine both the lotded

sections and the stone setting and

the folded section ol the pieces.

designer tips* VVorking with thinly rolled out clay will dry very quickly so there is

a need (or speed » Generously apply badger balm to any paper pattern first or the

moisture from the clay will be drawn into the paper resulting in the paper sticking to the clay

resourceswww.craftworx.co.uk

CONTACT DETAİLS

www.craltworx.co.uk

Traceyii>cra(tworx.co.uk

07961 883115

ı n g ı e ı c o ı 59

STEP 10

STEP 10Roll out the d a y once more about

.5m m thick, apply a generous

application of water to the surface

and ease dovvn the main body of

the piece. Using a small syringe

AUTUMN 2011FASHİON İNSPİRATİON

fashion tipsRIGHT Coot E40. walstcoat Et6, trouser £20 Matalan BEL0W Crey cuff E3.99 Internadonale

ADVANCED PROJECT

STEP 11Once again file and refine the

vvhole piece using polishing papers

to achieve a high shine. Once

completely ready fire the pieces at

8 5 0 ° for 20m ins

STEP 12Remove from the kiln, wire brush

then solder or glue to Sterling

earrintj post to the back of the

pieces. Pickle. then polish to

a high shine.

n jt

551 J3

J

STEP 9Use a fine half round file to file away

the tip of the folded section. Take

this slowly and very steadily to

avoid breakages.

MATERIALS » .7 g A rt C lay S ilver

» R oller

•• .75m m and .5m m

spacer bars

► Brass brush

•• Fileş

•> Sanding grits

» Polishing papers

» C ra ft kn ife o r n e ed le too l

* C om pass► R uler

► 2 x 2 m m firea b le

gem ston es

» 4 m m c ird e cu tte r

» A little paste o r syringe• P aper to d ra ft p a tte rn

• - 0 .8 m m S terlin g w ire or

2 S terlin g e a rr in g posts

INTERMEDIATC P R O JEC T 1> S lrps

Art CI av Silver phoenix brooch

Flames of gold. lap around the phoenix as he takes flight. A stunning brooch

made by Tracey Spurgin

INTERMEDIATE PROJECT »

delivers a full

program m e o f silver clay

vvoricshops u» a varıety

o f venues. From the N o rth West

lo the Yorkshire regions, from

her brand new studıo. Tracey

delivers high quality courses in

a relucing atm osphere. This brooch

was ınspıred by the legend o f the

p h o e n u w h:ch has been around

for centurıes. O n e such story is that

th is supernatural creature. Iıves for

1000 years. O nce that tim e ıs over,

it buılds iıs o w n funeral pyrc. and

throw s itself in to the flames As it

dies, İt Is reborn and takes flight to

llve another 1000 years.

designer tips:As you cut the

clay with e ither

a clay pick or

craft Knife. dip

the tip of th e knrfe m to some

badger balm. ıt helps to g.'ıde

effortlessiy through th e clav

and prevents dragging

To t*re som ethıng that is

shaped. support the shape

w ılh lıh re blanke* to prevent

it from reiaxm g during firingSTEP ICut ou t the paper im age of the

pb oenu and cover ı t ı r badger

balm Prepare a 25g lum p of 6 5 0

Slow dry A rt Clay ın the usual way

and then roll İt out onto a lıghtly

oıled ble using l.5m m spacer bars.

Place the paper im age into the

clay and cut around the outline.

MATERIALS2 5 g S ilv e r A rt C lay

R oller

A lit t le s y rin g e ty p e

B a d g e r ba lm o r o liv e ollVVater

C lir.g film

C la y pick

C ra ft kn ifeT issu e b lade

S a n d in g p a p e rs o r g r its

W ire b ru sh

S m a ll file

P û in t brushA rt C lay S ilve r b roo ch pin

STEP 5The A rt Clay brooch pin has lour

com ponent parts. th e latch. the pın

and th e tw o screw -ır bases. These

tw o screw bases nee<J to be secured

neatly onto the back o f th e brooch

using syringe. After dryir.g, sand

and file to a sm ooth neal finish.

Once the piece has finaliy oried out.

fire for at least 5 m inutes a t 8 0 0"C .

STEP 6A fter lirlng. brush the surface of

the piece with a soft brass brush.

Mt« up the accent gold paste. using

îh e modium supplied. to a thick

paste then apply m to th e surface of the silver. Dry th is slowly at a low

tem perature. Rem ove any excess

gold w ıth a needle or clay pick.

STEP 2

• f

STEP 2Use the tıp of the clay pick to draw

cn th e deta*l o l the eye and beak. Using a pamt brush. prop th e body

and hcad lo gıve shape to the

whole piece. Allow Ih ls to dry e ither

ın the öven a t I3 0 'C or naturaily.

Sand and filo to sm ooth the piece.

STEP 7Fire up the kiln to 8 9 0 ’ C only

Place the piece in the kiln once

it has reach th e desired

tem perature. Time this for seven

m inules C arelu lly rem ove the

piece and rub over Ih e gold areas

usmç an agate burmsher.

STEP 3

Jacket £120. trousers £39.50,

necklace £7.50, shoes £49.50 Marks S Spencer ROT ro t ' Rinos from £9 Dorothy Perkins Red mary jane shoe £45 Marks & Spencer

Zebra lurex scarf £10 Jane norman

Me Me Me Advanced v/ear

nail polish £4.25 Superdrug

T he p h o e n ix b ro o c h is a v e ry class i c

design and w o u ld

e n h an ce a v e lve t w ra p o r

th e lap e l o f an e v e ııin g

ja c k e t, T h is is c c rta in ly

a c o lle c to r ’s p iece an d is

tim e less in b o th co n ce p t an d desig n . V e lv e t is a rich

fa b r ic and o n e th a t w ill last fo r years i f ca red fo r. T e a m th e ja c k e t w ith a bias

cut s k irt o r classic ta p e re d

trou sers \v h ic h are ideal fo r w e a rin g to th e a tre o r

to th e o p era .

STEP 8This w i II need a soft wire brush once again. follov/ed by the usual procedure to polish using grades of sanding grits and polishing papers. Finish w ith a soft do th and silver polish.

STEP 3Roıl out the remaıns of the day. using the I.Smm spacer bars. Cut out the flames. To adhere these, lift them carefully and using a small amount of paste type applied to the back, place them on the rr.ain piece. Once again allovv these to dry.

Sand and file the vvhole piece to a smooth and dean finish bc-fore addıng any final syrmge detall.

Sand and file the vvhole piece to a smooth and clean finish before adding any final syringe detail

Alternativl coloursBronze Clay would qive this brooch a warm tone and make it a much less expensive accessory to make. To make it cool toned omıt the gold gel

resourcesProject kits are available on reguest.Contact details for further information on ali workshops: E: tracey®craftworx.co.uk W: www.craltworx.co uk T: 07961 883115

STEP 9Finally to secure Ihe brooch pin and latch into the base, check it ali fits and sits v/ell, before usmg a very small amount o f giue into the screw Dases. Screw in the latch and pin, close them up and atlow to dry before cutting the pin down to the correct length and filing the pin to a point.

Artikel Nr. Bezeichnung Preis in EUR480.001 -Art Clay Silver Clay Type Classic, 20g 47.97480.009B Art Clay Gold, Clay Type 3g 382.28480.010 Cork, Trâgermasse, 250 gr. 12.06480.013-EU Brennofen Paragon Modell SC-2 814.55 *480.014 Polierbürste, lange Borsten 6.25480.015 Polierbürste, kurze Borsten 6.25480.016 Gummi-Block 14.63480.022 Poliernadel 16.75480.023 -Anleitungsbuch 2 (japanisch) 14.13 *480.024 Steckoese FS 98, Diam. 3mm, 10 Stk. 26.90480.025 Broschennadel Silber 98 7.81480.026 Silber Lötpaste / oz. 16.97480.027 Tüllenset f/Spritzen, 3 Stk. 11.41480.028 Poliertuch 3.13480.029 Polierpaste, 150g 9.59480.032 Polierflüssigkeit, 250 ml 9.54480.034 Nadelfeilen Set 10 Stk. 9.38480.037 Büffelhaut-Hammer 25.71480.039 Stahlpinzette 14 cm 4.69480.041 Finger Messband 3.20480.042 Schleifpapier 1200 grit, 23x28cm 3.34480.043 Schleifpapier 2000 grit, 23x28cm 3.34480.044 Feinsilber Perlen, ca. 31 g 64.31480.045 Feinsilber Draht, 0.8 mm, ca.31 g 67.83480.046 Feinsilber Draht, 1 mm, ca.31 g 67.83480.047 Feinsilber Draht, 1.2 mm, ca.31 g 67.83480.050 Sterling Silber Draht, 1 mm, ca.31 g 63.20480.051 Sterling Silber Draht, 0.8 mm, ca.31 g 63.20480.052 Sterl.Silber Perlen m/Loch,4mm,10 Stk 3.91480.053 Sterling Silber Rundöse, 4 mm, 50 Stk 25.60480.060 Feinsilber Bezeldraht, ca.31 g 68.40480.061 RTV 2-Komponenten Silikon, ca. 1 kg 111.64480.074 Ringriegel Holz 2.41480.075 Art Clay Silver Oil Paste, 10g 27.20480.076 Nadel-Poliertrommel magnetisch 810.41 *480.077 Ceraboard, 10 mm, 19x19 cm 5.88 *480.078 Ceraboard, 10 mm, 28x28 cm 14.69 *480.079 Quarzsand, 1 kg 2.71 *480.080 Behâlter f/Nadel-Poliertrommel 60.76 *480.081 Magn. Trennpistole f/Nadel-Poliertr. 103.17 *480.082 Nadeln, 3mm, 250 g, für 480.076 73.30 *480.083 Nadeln, 5mm, 250 g, für 480.076 70.04 *480.085 Korrosions-Schutz, 100 ml 4.23480.086 Stahlpinzette, 45cm 55.25480.088 -Art Clay Silver Slow Dry, 20g 47.97480.089 Ubungs-Spritzen mit Messing 6.03480.090 Anleitungsbuch 3 22.53 *480.092 Messingdraht 3er-Set 1.56480.096 Ker.Fasermatte 25mm Stârke,19x19cm 6.06 *480.097 Ker.Fasermatte 25mm Stârke,28x28cm 13.28 *480.098 Ofenplatte Corderit 15mm, 27,5x27,5cm 31.44 *480.099 -Art Clay Silver Clay Type 650, 20g 47.97480.100 Overlay Silver Paste, 15g 38.90480.101 Zircon Paper 8 x 10 cm 2.47480.102 Schleifschwamm 3M, superfein 2.36

. 11 .2012

Artikel Nr. Bezeichnung Preis in EUR480.102B Schleifschwamm 3M, fein 2.36480.102C Schleifschwamm 3M, mittel 2.36480.102D Schleifschwamm 3M, ultrafein 2.74480.102E Schleifschwamm 3M, mikrofein 2.74480.103 Jewelry Making w/Silver Overlay jap. 17.53 *480.104 Making Jewelry w/AC Silver 650 jap. 17.69 *480.105 -Art Clay Silver Syringe 650, 10g, 1 Tip 27.03480.106 -Art Clay Silver Paste Type 650, 20g 43.41480.107 Art Clay Silver Paper Type 26.67480.108 -Art Clay Silver Syringe 650, 10g,no Tip 24.07480.109 -Art Clay Silver Syringe 650, 10g, 3 Tip 33.13480.110 Ringriegelhalter, H: 3cm 9.77 *480.111 Steckfassung fS, Diam.3 mm rund, 5 Stk 28.34480.112 Steckfassung FS, Diam.4 mm rund, 5 Stk. 28.34480.113 Goldfolie 24K 50x35mm 31.28480.115 Broschennadel Sterling Silber, 35mm 8.56480.116 RTV 2-Komponenten Silikon, ca. 100 g 18.38480.121 Achat Polierwerkzeug 17.22480.122 FS Draht 2.0 mm, Lânge 20 cm 31.50480.123 FS Draht 1.8 mm, Lânge 50 cm 65.03480.125 Buch Fabric. de Bijoux en Argent pur 15.56 *480.126 -Art Clay Silver Clay Type 650, 50g 118.74480.127 Spachtelklinge, Stahl, 97x48 mm 5.38480.128 Textur-Set, 8-teilig 15.66480.129 Flachöse FS, 10 Stück 25.00480.130 Steckfass. fS seitl.f/CZ 8x5mm, 5 Stk 31.05480.132 Steckfass. FS seitl. f/CZ Diam.5mm,5 Stk 18.59480.133 Werkzeug-Organizer 33.75480.140 Gasbrenner 27.00480.142 Unterlage für Gasbrenner 480.140 5.59480.143 Abstandhalter 1 mm. 1 Paar 2.69480.144 Abstandhalter 1,5 mm, 1 Paar 3.13480.145 PVC Roller 2.25480.147 Ausstechformen Dia. 4,5 mm, 4 Formen 20.54480.148 Ausstechformen Dia. 8 mm, 4 Formen 20.54480.149 Ausstechformen Dia. 12,5 mm, 4 Formen 20.54480.150 -Buch 'ACS Basics' (englisch) 17.88 *480.151 -Art Clay Silver Slow Dry 650, 20g 47.97480.152 Sterling Silber Rundöse, 3 mm, 50 Stk 14.69480.153 Sterling Silber Rundöse, 5 mm, 50 Stk 29.40480.154 Collier-Verschluss Silber 925. 3 Stk 69.25480.155 Brünier-Flüssigkeit, 6 gr. 2.25480.156 Brünier-Flüssigkeit, 600 gr. 13.41480.157 Kumihimo Scheibe 12.28480.158 Buch Colorful Silver Accessories 26.47 *480.159 Armbandschliesse SV925 19.97480.160 P2 Jelly Resin, 15 gr. 26.38480.161 Feinsilber Draht, 0.25mm, Spule ca.58m 68.86480.162 UV-Farbe UVC 23 grasgrün 8.50480.163 UV-Farbe UVC 22 mittelgrün 8.50480.164 UV-Farbe UVC 20 minzgrün 8.50480.165 UV-Farbe UVC 33 cyan 8.50480.166 UV-Farbe UVC 30 aqua 8.50480.167 UV-Farbe UVC 83 pastellblau 8.50480.168 UV-Farbe UVC 84 lavendel 8.50

. 11 .2012

Artikel Nr._______ Bezeichnung Preis in EUR480.169 UV-Farbe UVC 13 zitronengelb 8.50480.170 UV-Farbe UVC 03 kirschrot 8.50480.171 UV-Farbe UVC 60 weiss 8.50480.172 UV-Farbe UVC 51 braun 8.50480.173 UV-Farbe UVC 01 rosa 8.50480.174 UV-Farbe UVC 67 schwarz 8.50480.175 Mikro Kiln, Innen-Diam.:8cm, H:4,5cm 126.69480.176 Art Clay Silver ST Clay Type, 40g 106.91480.177 Art Clay Silver ST Clay Type, 10g 27.40480.178 Art Clay Silver ST Paste Type, 10g 25.28480.179 Art Clay Silver ST Syringe, 10g, no Tip 26.67480.180 -Buch Stilvoller Silberschmuck 30.36 *480.181 Art Clay Gold Paste, 1.5g 178.21480.182 Lacedraht ST 925, fein, 30 cm 48.34480.183 Lacedraht ST 925, mittel, 30 cm 98.28480.184 Lacedraht ST 925, grob, 30 cm 96.44480.185 Tool Kit No. 1 140.31480.186 Tool Kit No. 2 91.16480.187 Tool Kit No. 3 23.69480.188 Feinsilber Draht, 0.40mm, Spule ca.22m 68.86480.189 Schleifpapier 4000 grit, 21.6x28cm 4.89480.190 Make Unique Silver Mono Buch, engl. 6.78 *480.193 Brennfolie, 9 Stk., 17 x 17 cm 6.75 *480.194 Handfeile mittel/grob 19.44480.195 Handfeile mittel/fein 6.94480.196 FS Stecköse gross / offen, 10 Stk. 34.84480.198 Spachtel 26.38480.199 Brennofen 'Prometheus' 500.00 *480.200 Stecköse klein, FS 98, Diam.2mm, 10 Stk. 22.78480.201 FS Bezeldraht, 4 mm x 0.2mm x 50 cm 23.94480.202 AC Ohrhaken, 1 Paar 3.91480.203 Ringmass-Kleber 7.16480.204 Arbeitsmatte Plastik 2.63480.206 Ringspiel (#1 - 36) 16.94480.207 Feile halbrund mit Holzgriff 7.19480.208 Modellierwerkzeug I 7.94480.209 Modellierwerkzeug II 7.94480.210 -Modellierwerkzeug III 7.94480.214 Texturmatte 'Big Fish', 5 x 17 cm 14.18480.215 Texturmatte 'Cubes Faces', 5 x 17 cm 14.18480.216 Texturmatte 'Feather', 5 x 17 cm 14.18480.217 Texturmatte 'Jumbalaya', 5 x 17 cm 14.18480.218 Text.matte 'Jumbo Swirl Block',5x17cm 14.18480.219 Texturmatte 'Lava Map', 5 x 17 cm 14.18480.233 -Art Clay Silver Paste Type 650, 10g 23.01480.234 -Art Clay Silver Syringe 650, 5g,no Tip 12.89480.235 -Art Clay Silver Clay Type 650, 7g 17.28480.236 -Art Clay Silver Clay Type 650, 7g,10pcs 170.04480.237 Art Clay Starter Kit inkl. DVD (PAL) 75.00480.238 Art Clay Silver DVD (PAL) 9.66 *480.239 Zuchtperle 7-7,5mm, mit 0,8mm Bohrung 14.97480.241 Buch 'Make Your Unique Silver 2' (jp) 14.31 *480.243 Buch Beads & Silver, japanisch 28.59 *480.244 Buch Interior & Accessores w/ACS, jp. 26.81 *480.245 Buch Flower Motif Accessores w/ACS,jp 22.88 *

Artikel Nr._______ Bezeichnung___________________ Preis in EUR480.246 Buch Silver Art Jewelry, Wire & Clay ,jp 21.63 *480.247 Buch Making Original Wedding w/ACS 28.59 *480.248 Buch SOL Jewelry w/Glass & Porcelain 26.47 *480.249 Buch 'ACS Arragement Book' 22.16 *480.250 Buch Silver Accessories Contest 2007 39.16 *480.251 -ACS Syringe 650, 10g, no Tip,Low Binder 24.43480.252 Spritzengriff 7.59480.253 Form Silicone 'Kreuz' 14.97480.254 Form 'Schlüssel' 8.03480.255 Form 'Glückskâfer' 9.38480.256 Form 'Apfel' 9.38480.257 Form 'Erdbeere' 9.38480.258 Form 'Anker' 9.38480.259 Form 'Hufeisen' 9.38480.260 Form Silicone 'Totenkopf' 10.28480.261 Silberfolie 'Blume' 10 x 10 cm 21.22480.262 Silberfolie 'Schriftzug' 10 x 10 cm 21.22480.263 Silberfolie 'Welle' 10 x 10 cm 24.13480.264 Oyumaru, ca. 40g 6.25480.265 Buch Bijoux Creatifs en Pâte d'Argent 14.83 *480.266 Ringhalter, Plastik, 18 Stück 15.26480.268 Buch Except. Works Metal Clay & Glass 20.66 *480.269 Buch Introd. to Precious Metal Clay 20.66 *480.270 Buch Precious Metal Clay in Mix.Media 20.66 *480.271 Schmuckzangen Set (3 Stück) 41.14480.272 Crimpzange für Schmuck 23.03480.284 BRONZClay, 100 gr. 19.47 *480.285 BRONZClay, 200 gr. 36.06 *480.286 COPPRClay, 100 gr. 19.47 *480.287 COPPRClay, 200 gr. 36.06 *480.288 Aktivkohlegranulat,1kg,Kokosnussbasis 12.44 *480.289 Aktivkohlegranulat,2kg,Kokosnussbasis 20.00 *480.290 Chromstahlbehâlter 108x176x65mm 17.50 *480.291 Chromstahlbehâlter 162x176x100mm 21.88 *480.292 Bronzedraht, 1.0 mm, 36 gr. ca. 5 m 6.97480.293 Bronzedraht, 0.8 mm, 24 gr. ca. 5 m 4.66480.294 Bronzedraht, 0.65 mm, 16 gr. ca. 5 m 3.11480.295 Bronze & Copper Clay Starter Kit 109.38 *480.296 Art Clay Copper Clay, 50g 20.28480.297 Prometheus Bronze Clay, 200 gr. 40.82 *480.298 Prometheus Bronze Clay Syringe,10g,3Tips 12.08 *480.299 BRONZClay FastFire, 100 gr. 20.55 *480.300 BRONZClay FastFire, 200 gr. 38.32 *480.301 Photo Polymer Platte, A4, ca. 20x30cm 28.25 *480.302 Photo Polymer Platten Starter Kit 34.62 *480.303 La Magie des Bijoux en Pâte de Metal 16.73 *480.304 Ofenplatte Corderit 15mm, 18x18cm 10.00 *480.305 Texturmatte 'After the Rain' 10x12,5 cm 13.00 *480.306 Texturmatte 'Good Vibrations' 10x12,5 cm 13.00 *480.307 Texturmatte Under the Boardwalk 10x12,5 13.00 *480.308 Texturmatte 'Watusi' 10x12,5 cm 13.00 *480.309 Texturmatte 'Mambo' 10x12,5 cm 13.00 *480.310 Texturmatte 'Fandango' 10x12,5 cm 13.00 *480.311 Texturmatte 'Conga Line' 10x12,5 cm 13.00 *480.312 Texturmatte 'Jitterbug' 10x12,5 cm 13.00 *

Artikel Nr._______ Bezeichnung__________________________________ Preis in EUR480.313 Texturmatte 'Tango' 10x12,5 cm 13.00 *480.314 Texturmatte 'Hurly Burly' 10x12,5 cm 13.00 *480.315 Polierbürste Messing, lange Borsten 6.40480.316 Polierbürste Messing, kurze Borsten 6.40480.317 Poliertrommel für Schmuck 117.00 *480.318 Poliermehl, 100g 3.45 *480.319 Poliermedium Edelstahlgranulat, 1 kg 61.15 *480.320 Art Clay Humidor 11.19 *480.321 Messingnieten mit Bohrer 29.42480.322 Punzierhammer 35.65 *480.323 Buch Amulets and Talismans 34.88 *480.324 Texturmatte 'Tempest' 10x12,5 cm 13.00 *480.325 Texturmatte 'Roundabout' 10x12,5 cm 13.00 *480.326 Texturmatte 'Indian Summer' 10x12,5 cm 13.00 *480.327 Texturmatte 'Frenzy' 10x12,5 cm 13.00 *480.328 Texturmatte 'Four Play' 10x12,5 cm 13.00 *480.329 Texturmatte 'Magic Mushroom' 10x12,5 cm 13.00 *480.330 Texturmatte 'Starburst' 10x12,5 cm 13.00 *480.331 Buch New Mokume-Gane Exhibition 2012 10.00 *480.332 Buch The Metal Clay Techniques Book 25.33 *480.333 Bohrer für Nietenloch 2.31480.334 Tahiti Perle 7mm, Halbloch 0.8mm 12.30 *480.335 Tahiti Perle 12mm, Halbloch 0.8mm 24.60 *480.336 Art Clay Silver Clay Type, 7g 17.28480.337 Art Clay Silver Clay Type, 7g, 10 pcs 170.04480.338 Art Clay Silver Clay Type, 10g 24.23480.339 Art Clay Silver Clay Type, 20g 47.97480.340 Art Clay Silver Clay Type, 50g 118.74480.341 Art Clay Silver Syringe, 5g, no Tip 12.89480.342 Art Clay Silver Syringe, 10g, no Tip 24.07480.343 Art Clay Silver Syringe, 10g, 1 Tip 27.03480.344 Art Clay Silver Syringe, 10g, 3 Tip 33.13480.345 Art Clay Silver Paste Type, 10g 23.01480.346 Art Clay Silver Paste Type, 20g 43.41480.Z001 C.Zirkonia synth. weiss rund,2mm,10 Stk 6.83480.Z002 C.Zirk. synth. weiss rund, 2.5mm,10 Stk 7.50480.Z003 C.Zirkonia synth. weiss rund,3mm,10 Stk 8.80480.Z004 C.Zirkonia synth. weiss rund,4 mm,5 Stk. 6.83480.Z005 C.Zirkonia synth. weiss rund,6 mm,5 Stk. 13.20480.Z006 CZ synth. weiss Marquise,5x2.5mm,5 Stk 9.70480.Z007 CZ synth. weiss Marquise, 8x4mm, 5 Stk 18.50480.Z008 C.Zirkonia synth.weiss oval,6x4mm,5 Stk. 18.50480.Z009 CZ synth.weiss,Square Princ.,4x4mm,5 Stk 12.33480.Z010 C.Zirkonia synth. pink rund,2 mm,10 Stk. 7.50480.Z011 C.Zirkonia synth. pink rund,3 mm,10 Stk. 11.00480.Z012 C.Zirkonia synth. pink rund,4 mm, 5 Stk. 10.77480.Z013 C.Zirkonia synth. pink rund,6 mm, 5 Stk. 21.56480.Z014 CZ synth. pink, Marquise, 5x2.5mm, 5 Stk 23.40480.Z015 CZ synth. pink, Marquise, 8x4 mm, 5 Stk 24.67480.Z016 C.Zirkonia synth.lavender rund,2mm,10Stk 7.50480.Z017 C.Zirkonia synth.lavender rund,3mm,10Stk 11.00480.Z018 C.Zirkonia synth.lavender rund,4mm,5Stk. 10.77480.Z019 C.Zirkonia synth.lavender rund,6mm,5Stk. 15.87480.Z020 CZ synth.lavender,Marquise,5x2.5mm,5 Stk 11.00480.Z021 CZ synth.lavender,Marquise,8x4mm, 5 Stk 24.67

Artikel Nr.________ Bezeichnung__________________________ Preis in EUR480.Z022 C.Zirkonia synth.amethyst rund,2mm,10Stk 7.50480.Z023 C.Zirkonia synth.amethyst rund,3mm,10Stk 11.00480.Z024 C.Zirkonia synth.amethyst rund,4mm,5Stk. 7.73480.Z025 C.Zirkonia synth.amethyst rund,6mm,5Stk. 15.87480.Z026 CZ synth.amethyst,Marquise,5x2.5mm,5 Stk 11.00480.Z027 CZ synth.amethyst,Marquise,8x4mm, 5 Stk. 24.67480.Z028 C.Zirkonia synth. orange rund,2mm,10 Stk 8.60480.Z029 C.Zirkonia synth. orange rund,3mm,10 Stk 11.00480.Z030 CZ synth.orange,Square Princ.,4x4mm,5Stk 14.97480.Z031 Spinel synth. aquamarine rund,3mm, 10Stk 36.97480.Z032 Spinel synth. sapphire rund, 3 mm,10 Stk 36.97480.Z033 Corund synth. ruby red, rund, 3mm, 10Stk 36.97480.Z034 Cor. syn. ruby red,Marquise,5x2.5mm,5Stk 19.49480.Z035 Corund synth. garnet, rund, 3 mm, 10 Stk 17.60480.Z036 Cor.synth. garnet, Marquise,5x2.5mm,5Stk 19.49480.Z039 Cub Zirk. synth. peridot,rund,3mm,10Stk 11.00480.Z043 C.Zirkonia synth. weiss rund,3.5mm,10Stk 11.05480.Z044 C.Zirkonia synth. weiss rund,10 mm,1 Stk 8.80480.Z045 C.Zirkonia synth. weiss rund,14 mm,1 Stk 25.30480.Z046 C.Zirkonia synth. pink rund,10 mm,1 Stk. 10.57480.Z047 C.Zirkonia synth. pink rund,14 mm,1 Stk. 28.60480.Z048 C.Zirkon. synth. lavender rund,10mm,1Stk 10.57480.Z049 C.Zirkon. synth. lavender rund,14mm,1Stk 28.60480.Z050 C.Zirkon. synth. amethyst rund,10mm,1Stk 10.57480.Z051 C.Zirkon. synth. amethyst rund,14mm,1Stk 28.60480.Z052 C.Zirkon. synth. orange rund,10 mm,1 Stk 10.57480.Z054 C.Zirkon. synth.champagne rund,3mm,10Stk 11.00480.Z055 C.Zirkon. synth.champagne rund,4mm,5Stk. 8.17480.Z056 C.Zirkon. synth.champagne rund,6mm,5Stk. 15.87480.Z057 C.Zirkon. synth.champagne rund,10mm,1Stk 10.57480.Z058 C.Zirkon. synth.champagne rund,14mm,1Stk 28.60480.Z059 C.Zirkonia synth. black rund,3 mm,10 Stk 11.00480.Z060 C.Zirkonia synth. black rund,4 mm,5 Stk. 8.17480.Z061 C.Zirkonia synth. black rund,6 mm,5 Stk. 15.87480.Z062 C.Zirkonia synth. black rund,10 mm,1 Stk 10.57480.Z064 Spinel synth. aquamarine rund,4 mm,5 Stk 30.80480.Z065 Spinel synth. sapphire rund, 4 mm, 5 Stk 30.80480.Z066 Corund synth. alexandrite rund,3mm,10Stk 36.97480.Z067 C.Zirkonia synth. pink rund,2.5mm,10 Stk 8.80480.Z068 C.Zirk. synth. lavender rund,2.5mm,10Stk 8.80480.Z069 C.Zirk. synth. amethyst rund,2.5mm,10Stk 8.80480.Z070 C.Zirkonia synth orange rund,2.5mm,10Stk 8.80480.Z071 C.Zirkonia synth. orange rund,6mm,5 Stk. 15.87480.Z072 CZ synth. orange, Marquise, 8x4mm, 5 Stk 24.67480.Z073 CZ synth. champagne rund,2.5mm,10Stk 8.80480.Z074 Spinel synt. aquamarine rund,2.5mm,10Stk 28.17480.Z075 Spinel synth. sapphire rund,2.5mm,10Stk 28.17480.Z076 Corund synth. garnet rund, 2.5mm, 10Stk 28.17480.Z077 C.Zirkonia synth. peridot rund,4mm,5Stk 8.17480.Z078 C.Zirkonia synth. peridot rund,6mm,5Stk 15.87480.Z079 C.Zirkonia synth. peridot rund,10mm,1Stk 10.57480.Z081 C.Zirkon. synth.champagne rund,2mm,10Stk 7.50480.Z082 Cubic Zirk synth peridot rund,2mm,10 Stk 7.50480.Z083 Spinel synth. aquamarine rund,2mm, 10Stk 25.53480.Z084 Spinel synth. aquamarine rund,6 mm,5 Stk 50.60

Artikel Nr.________ Bezeichnung__________________________ Preis in EUR480.Z085 Spinel synth. aquamarine rund,10mm,1 Stk 28.60480.Z086 Spinel synth. aquamarine rund,14mm,1 Stk 72.73480.Z087 Spinel synth. sapphire rund, 2 mm,10 Stk 25.53480.Z088 Spinel synth. sapphire rund, 6 mm, 5 Stk 50.60480.Z089 Spinel synth. sapphire rund,10 mm, 1 Stk 28.60480.Z090 Corund synth. garnet rund, 2 mm, 10 Stk. 23.77480.Z091 Corund synth. ruby red rund, 2mm, 10Stk. 11.67480.Z092 Corund synth. garnet rund, 4 mm, 5 Stk. 27.30480.Z093 Corund synth. garnet rund, 10 mm, 1 Stk 27.50480.Z094 C.Zirkonia synth.champ. oval,9x7mm,1 Stk 10.27480.Z095 C.Zirkonia synth.yellow oval,9x7mm,1 Stk 10.27480.Z096 C.Zirkonia synth.lavend. oval,9x7mm,1Stk 10.27480.Z097 C.Zirkonia synth. ameth. oval,9x7mm,1Stk 10.27480.Z098 C.Zirkonia synth.peridot oval,9x7mm,1Stk 10.27480.Z099 C.Zirkonia synth. weiss oval,9x7mm,1 Stk 8.37480.Z100 C.Zirkonia synth.champagne EC,9x7mm,1Stk 11.00480.Z101 C.Zirkonia synth. yellow EC,9x7mm,1 Stk 11.00480.Z102 C.Zirkonia synth. lavender EC,9x7mm,1Stk 11.00480.Z103 C.Zirkonia synth. amethyst EC,9x7mm,1Stk 11.00480.Z104 C.Zirkonia synth. peridot EC,9x7mm,1 Stk 11.00480.Z105 C.Zirkonia synth. weiss EC,9x7mm,1 Stk 9.50480.Z106 C.Zirkonia synth. yellow rund,10mm,1 Stk 14.17480.Z108 C.Zirkonia synth. yellow rund,14mm,1Stk 31.63480.Z-Mix Cubic Zirkonia Mixpack, 28 Steine, 3-8mm 24.17

044.002 Millefiori,6mm,opak,ca.100gr,assortiert 11.89 *044.003 Millefiori,6mm,transp,ca.100gr,assort. 11.89 *044.005 Millefiori,8mm,opak,ca.250gr,assortiert 46.53 *044.010 Millefiori,8mm,transp.,ca.250gr,assort. 46.53 *044.011 Millefiori,12mm,opak,ca.250gr,assortiert 55.98 *079.Magic Dichroic Glas Test Kit, 16 Stk.,10x5cm 114.95 *079.Offcut Dichroic Offcuts, ca, 225 gr. 60.66 *200.110 TOYO TC 1 Oelglasschneider 24.29 *200.117 TOYO TC 600 Oelglasschneider 33.60 *200.202 KNIPEX Glaskröselzange, 9 mm 30.69 *200.215 LEPONITT Laufzange RP-1 15.56 *200.242 DIAPAD schwarz, 125Mic, 120 grit 23.07 *200.243 DIAPAD rot, 74 Mic, 200 grit 16.56 *200.701 Schutzbrille 16.79 *200.704 Baumwollhandschuhe 2.56 *200.861 Glaserwinkel, 31 cm 13.17 *201.743 Zag-Zag Zange 52.14 *201.762 Feinbohrschleifer-Set 12V 50/E var.Speed 85.23 *201.765 Bohrstift Diamant, 1,8 mm 5.52 *201.768 Bohrstift Diamant, 1,2 mm 8.32 *201.769 Bohrstift Diamant, 1,4 mm 9.30 *201.770 Bohrstift Diamant, 1,6 mm 9.30 *201.987 UV-Lampe Schwarzlicht 8W, LW, 230V 210.00 *951.348-EU Brennofen Paragon Modell SC-2 Kombi 852.73 *956.221 Diamant Nadelfeilen-Set 10.35 *

* = kein Rabatt auf diesen Artikeln

Artikel Nr._______ Bezeichnung__________________________________ Preis in EURArt Clay Kunde RabattAbsolvent Level I 15%Absolvent Level II 20%International Instructor 30%Weitere Rabatte für Kursleiter / Einzelhandel / Künstler bitte kontaktieren Sie uns.

Konditionen:Die Preise sind exkl. Mwst., Versand und Verpackung, ab Lager Wels / Österreich.Unsere Preise sind freibleibend und können ohne vorherige Ankündigung geândert werden.

ADVANCED PROJECT 12 S te p s

Art Clay Silver tooth fairy boxThis beautiful little Art Clay Silver tooth fairy box is a perfect way to commemorate a special occasion such as a christening. By Tracey Spurgin

T racey deliversa lull program m<? of silver clay \vorkshops from her

own studio in Yorkshire as vvell a:: Buı lon Manor, Higham Hail nııd Pendrdi Hail. Yıacey delivers high quallty courses la a relax.ıng atmosphere. Lcarners are ınspıred and gcin knov/ledge and conf'ıdence in vvorking vvith metal clay. 11 you are interested in findinga class

rıear you vvılh qualliicd tuioıs, visit w w w .ar teki ywo d d .o rg.uk.

Wlıen Iraceys own dıildren were small they wımld vvrapa tost tooth up in tissue and place ıt in an old tnatchbosr. \Vith a ne w addihon to lıct lamily. she decıded to make som etbing ıhat \vould make a l.ısung m eınento or a possjbly even a family heııloom

MATERIALS- SOg Silver A r i Clay- Texture plate » R oller

- A litt le syringe type» Badger balm or o llve oll- VVater- Cling film- C tay pick

- C ra ft kn ife

- T issue blade- Sanding papers o r g rits- Wire brush

- Small file«• Paint brush*- Box of cockta il sticks- A fa iry ha irp ln•> M oulding com pound

STEPİ

STEP 4To make the base ol the box, roll out more clay usnırj the İmm spacer bars. ArJd syringe to the lower edge ot [he nm. Turn this över to adheı e te the rolled out clay

STEP 2 STEP 3

STEP 1Prepare 25q of 650 slow dry Art Clay silver in Ihe usual way. Ljghtlv oll a ıexture plate and roll the clay över it using fmm spacer bars. Use a llssue blade or craft knife Io cut a strip ol clay approximately 3 or 4cm wlde and a fevv centimetres more than Ihe diameter of Ihe forrn (vvhich ıs a süpermarket purehased box of toothpicks),

STEP 5

STEP 5Use a clay pick or craft knife to remove (he excess cıay. When using a clay pick, hold Ihe cut at a 9 0 ' ançie lo the surlace. This vvili give an evsn edge ali the way around the piece. Once again allow this te thoroughty tiry.

STEP 2Heavîly cover the toothpıck box in badger balın to prevent it sticking, Wrap the wiae sfrip o; clay around the box. Where the tvvo eciges meel, use a tissue blade to cul through the clay and use syringe lo adhere the join, Ensure ali the clav Is pressed firm ly to the walis of the foothpick box to get a l.rue shape

STEP 3Allow to dry in the öven for 20 minutes at 130' C or overnight. Once dry, carelully remove the outer Shell from the toothpick case, sand and file fhe join and the two rim edges untll level and smooth.

STEP 6Now roll out and cut another strip of clay approximalely İcm wıde.Use syringe around the inside rim of the main base and carefully attach the strip of clay. Refine any cracks. searns and joins w ilh d little

syringe or paste before allowing II lo dry then proceed vvith sanding and fillng.

STEP 8

STEP 7To make the lid, use İnim spacer bar s. Roll out and texture more clay, again appraomately Icm wlde. Wrap around (he toolhplck box and join using syringe. Allow io dry before sanding and filjng.

STEP 9 STEP 10

STEP 8Using Imm spacer bars, roll oııl and texture the remalnlng clay. Carefully flip the clay oveı. Add syringe to adhere the dry rim to the wet clay lid. Use the cl&y pick or craft knlle to remove the excess clay.

STEP 11

STEP 9To remove any residue or ejccess clay at the rim, use a wet cocktail stick. Allow this to dry. Check to see II the lid and the base sıt neatly together. To correct any minör llaws, use your fileş and sanding pad to neaten the box.

STEP 10I found this hairpln and made a mould ol the lairy using two part sillcone moulding compound. Use a little olıve od ın the mould before pushing ihe clay lirm ly into it, Gently flex the mould to remove Ihe fairy.

STEP 11Allovv the fairy to dry before sanding and flllng to refine the edges and create a Hat back. Use a liltle paste to adhere the fairy onto the lid. Once again allovv this to dry. Then give it one final polish wilh polishing papers belo-e lakıng the piece fo lire.

STEP 12I have fired this İn the kiln, on 800°C for 30 minutes. Fire Ihe piece vvith the lid on. This will help prevent any slump or dlstc-rtion. Remove from the kiln, quench İn water. polish and oxidize.

designertips:► Creating a hollov.1

form is sirnple.Ali you need to do is llnd or make something to vvork över, Polymer clay can be used lo create your own shapes or forms

■- Make theshape, bake it in the öven and use it again and agamChlldren’s building bricks have helped me İn Ihe past

resourcesClay is available to purchase from Tracey via email.

CONTACT DETAILS:E: tracey@craftworx.co.Uk W: www.craf1worx.co.uk T: 07961 883115

TIPS & TECHNIOUES

Techniqııe:Silver pillow beadLearn the step by step skills and techniques required to gain confidence and achieve successful bead making results using A rt Ctay silver. By Tracey Spurgin

ou r technıque expert is:l r a c * e \ S p u r g i n

Tracey Spurgin delivers a full programme of silver clay workshops m a variety of venues frorn the North West to the Yorkshire regions. She prides herself on running high guality courses in a relaxing atmosphere. Students are ispired and gain kriowledge and confidence in working with Silver and Bronze clay.

T his beautiful pillow bead can be used alone as a focal bead or strung as a whole

series of beads.

MATERIALS» 20g S ilver A rt Clay

Roller ► Syringe type

Badger balm or o live oil ® Texture plate* W ater«* Cling filmo- Craft kn ife o r tissue blade* Sanding papers o r grits* VVÎre brush

Small file•- Paint brush » Gas hob & Mesh grid

resourcesProject kits are available on request. Contact details for further information on ali workshops:EMAIL: tracey@craftworx.co.uk WEBSITE: www.craftworx.co.uk TEL: 07961 883115

Use a craft knife or clay pick to cut away the excess clay. Carefully lift and repeat on the other open end.

STEP 2

STEP 2Make two impressions to form the two haivcs of the pillow bead. Lift them carefully, to drape them over the roller. Ensure ali the edges are firm ly connected with the roller and not lifting or curling. Allow to dry.

36 k ı n g ı o w o I I o r y c o rn

STEP 1Prepare the clay then place it into cling film. Add a dab of water and massage the water into the clay. Using 1.5 mm spacer bars roll out the ctay, add texture with a texture mat then cut out with a square cookie cutter.

TRAC

EY

SPUR

GİN

designer tips:^Once you drape the pieces

över the roller, ensure ali the edges are firm ly connected vvith the roller and not lifting or curlîng at the edges

- Before using the syringe to adhere the two halves, check they sit neatly together

*Sand the two remaining open ends by rotating in a circular motion on tne sanding grit. This will neaten and level the tvvo sides

STEP 5

STEP 3

STEP 3Once dry the tvvo arches wîtl easily be removed from the roller. Place a course sanding grit flat on a table. Sand the two lower edges of the arches level. This wîll allow the two halves to sit neatly together.

STEP 5Once again prepare and roll out a smafl amount of clay. Add a dab of water to one of the open ends of the pillow bead and stand it on the rolled out clay. Use a craft knife or clay pick to cut avvay the excess clay. Carefully lift and repeat on the other open end.

'EP 4

STEP 4Using a little syringe or paste to apply a line along the seams, join the tvvo halves together. You vvill then need to dry in an öven on 130°C for 20 minute s. Once dried, lightly sand the tvvo remaining open ends flat and level.

STEP 6Repeat the drying process. At this plaster dry stage, sand and fiie the joins to becorne seamless. Use a small round file to drill a hole in each side. Fire, sand and polish to complete your bead.

m a ı n u l 37

A j u r c a 2 2A N e w I d e a i n G o l d E m b e l l i s h m e n t

C on m efP b

Tiny particles of pure gold (91.6%) are blended w ith fine silver particles ( 8.4% ) to create a precious m etal w ith deep yellow color and the ability to fuse to silver at low tem peratures. The result is a layer of gold tha t is considerably thicker than possible w ith electroplating.

U s e sAura 22 is ideally suited to w ork w ith all versions of PMC and metal clay. It can also be used on w rought fine silver and, w ith care, on sterling tha t has been properly prepared (see below). Unlike electroplating, Aura 22 requires no special equipm ent. Because it can be painted on, Aura 22 offers gestural responses unlike any o ther gold layering process. It is especially recom m ended for heavily textured surfaces, and for embellishing areas tha t w ould be difficult to cover w ith alternative tech- niques. Aura 22 involves almost no waste and a relatively small investm ent. A one gram package can usually embellish 20-30 objects.

The proper consistency of the m aterial is a creamy paste that spreads like nail polish. Each package comes w ith a bottle of Media, w hich can be used to refresh the Aura 22 if it dries. Use only a drop or two, allow to sit for a few minutes, then stir w ith a scribe or a large sewing needle. Using too much m edia can result in a pale color, so be conservative.

Fire the m etal clay at any of the recom m ended schedules, then apply Aura 22 before burnish- ing, tum bling, etc. If the metal is oily, soapy, or tarnished, heat clean it by heating to about 1000° F, either w ith a torch or in a kiln. The tem perature is no t critical—just ho t enough to burn away any residue tha t m ight inhib it the fusing. W h n in doubt, burn i t out.

Apply an even layer of Aura 22 w ith a scribe, paintbrush, or rubber-tipped tool. U neven thick­ness will show up as different shades of gold. Two layers are usually sufficient, but three layers will guarantee a rich, pure gold color. Allow the Aura 22 to dry between layers. There is no problem w ith allowing the Aura 22 layer to w ait several days before fusing.

F u sin g KilnPut the dry object in the kiln and heat to 850° F (450° C) for 30 minutes.

Hot Plate (Keum-boo Method)Set the object on a ho t plate, heat to M edium-High, un til a piece of w ood chars w hen touched to the PMC. At this point, tu rn the heat down a little and burnish w ith a steel or glass tool.

TorchSet the dried w ork onto a soldering pad and heat it slowly until the silver glows w ith a radiant red color. W hen this color appears, fusing occurs instantly. M etalsmiths w ill recognize this as the color just beyond the flow poin t of hard solder.

Hot PotUse a norm al firing sequence, w ith 30 grams of gel fuel.

F n î w h i « ^ Polish the Aura 22 layer by hand burnishing, brass brushing, rubbing w ith fine steel wool, or tum ­bling. At this po in t the work can be soldered, enameled, and colored following usual procedures.

Aura 22 contains a binder that burns off during the fusing process. The gases released are no t toxic, but we recom m end tha t you do no t inhale them . Do no t lean directly over the w ork during fusing. If m edia gets on your skin or in your eyes, rinse well w ith water.

Aura 22 works best on fine silver, but it can be used on sterling. Prepare the object by creating a layer of fine silver on sterling by depletion gilding. H eat the piece un til it oxidizes to a dark gray, then quench it in jewelers pickle. Rinse in w ater and repeat the process at least six times. You can apply Aura 22 now or, even better, pain t on a layer of PMC Paste (any version). Allow this to dry, then pain t the Aura 22 onto this layer. Fusing and finishing follows the steps described above.

www.PMCguild.com Aura is a trademark of Mitsubishi Materials Corporation. Aura 22 is protected by patent 5,376,328 (12/27/94). © PMC Guild, 2004

Technical UpdateThis Technical U pda te is provided by the P M C G uild to supp lem en t the

instruction sheet cu rre n tly packaged w ith A u ra 22 , a pa ten ted p roduc t

m an ufac tu re d by M itsu b ish i M a te ria ls C orpora tion o f Japan.

N e w M e t h o d f o r F u s i n g A u r a 2 2 t o P M C

Current research shows excellent results when using the process associated w ith the ancient Korean technique known as keum-boo. The following pages provide a summary o f this technique as it applies to PMC. For more detailed information and more photos, see Keum -Boo on Silver, by Celie Fago (www.celiefago.com).

Preparation o f PM C ObjectsAura 22 works equally well on all versions o f PMC. In all cases, fire the material first, using any of the recommended firing schedules. Best results are found when the Aura 22 layer is applied on the untreated PMC surface. The slightly matte surface provides a too th fo r the paint to adhere. By contrast, working on a burnished surface allows the paint to slide and pull a bit, making crisp details a little more challenging.

H eat-C lean ingIf the w o rk has been tumbled, patinaed, o r if it has been several weeks since it was fired (o r if you are fo r any reason concerned that the surface of the object might be contami- nated), put the w o rk in a kiln and heat it fo r a few minutes. This process does not need to be specific— if you are doing any so rt of PMC firing, add these pieces to the kiln. If you are firing just fo r this purpose, simply put the w o rk in a kiln and bring it up to over İ000°F (540°C).You can also heat-clean w ith a torch: heat to dull red and allow the w o rk to air cool.

Applying th e A u ra 22Original instructions made a point o f applying several layers of Aura 22, allowing each layer to dry completely between coats. This advice is not wrong, and there is no prob­lem w ith allowing a day between applications, but we find that because heat comes up through the PMC object during the keum-boo process, this drying phase is less critical.

Apply the gold liquid w ith a good paintbrush, a rubber-tipped co lor shaper, a large needle, o r a toothpick, depending on the line quality you are seeking. The thicker the gold, the richer the color. Two layers are typical, and we recommend tw o thin layers rather than a single, th icker one.

2 2

ToolsThis process uses a small electric hotplate to bring the silver and gold up to fusing tem ­perature. Hotplates are sold at hardware, discount, and grocery stores. The one in the photo has tw o burners, but a single burner unit w ill be fine. Cost should be under $20. If you cannot find one locally, you can shop online, fo r instance, at www.target.com.

Some hotplates (like the one shown), have a smooth burner and are ready to use as is. O thers have a grill that makes it difficult to position the work. To compensate fo r this, set a piece o f copper o r brass over the burner.

Though not required, you might also want to have a woodstove thermometer, likethe one shown here. These relatively inexpensive devices will provide a quick visual reference o f the heat.

O ther tools are a pair of gloves (to protect your hands from the heat), a steel o r glass burnisher, a couple of toothpicks, and a hold­ing stick (popsicle sticks and chopsticks w o rk well).

T he ProcessPut the w o rk onto the hotplate and turn it up to High. W ith in a few minutes, the w ork w ill start to smoke— this is the Aura 22 binder being driven off. No ventilation is neces- sary fo r this harmless, almost odorless vapor. To test the heat of the PMC object, touch a toothp ick to it. When the wood chars, the metal is hot enough that the fusing process has begun. A t this point, secure the object w ith one hand as you lightly press the Aura 22 down against the silver. The goal of this step is to press out microscopic gaps that exist between the silver base and the gold layer. W hen the tw o pure metals are in perfect contact, bonding is instant.

Generally, start w ith a light stroke, then rotate the piece and fo llow up w ith firm - er pressure using strokes that run in a different direction from the first. You w ill notice that the burnisher leaves marks; these w ill be removed by polishing after the layers are bonded.

If the co lor is weak, o r if you have changed your idea fo r the piece and want to cover a larger area, you can paint on additional gold and repeat the process. It is also possible to combine traditional keum-boo and Aura 22 on a single piece.

FinishingW hen the gold has been fused to the PMC object, allow the w o rk to cool, then polish it by tumbling, hand burnishing, o r scratchbrushing w ith a soft brass brush and water. To increase the contrast between the silver and gold, use liver of sulfur o r Silver Black to darken the silver.

C om paring A u ra 22 to Keum -booİn the end result, these tvvo techniques are almost identical, so it ’s vvorth asking vvhy you vvant to knovv both. Keum-boo, seen on the right panel here, starts vvith shapes cut from gold sheet.This means it is ideal fo r forms that have crisp edges o r a geometric shape. Com-

mercial cutting tools can be used on the gold foil, which opens up a wide range of pos-sibilities. Aura 22, on the o ther hand, is preferred fo r cases where it would be difficult tocut small pieces, illustrated in the sample on the left above. Imagine a gold signature, and you can see why a brushable media w ill be easier to use.

A nother difference is that Aura 22 works better on high relief objects. The gold foil o f keum-boo is delicate, and it w ill tear if it is pressed into a groove. Because it goes on as a liquid, Aura 22 flows into such crevices. In cases like this, where burnishing is difficult, raise the hotplate temperature to 900°F (480°C) and al- low the w o rk to sit at this heat fo r a half hour.

N otesThanks fo r all the people who have contributed the ir creative ideas to using Aura 22, including Celie Fago, Abby Johnston, Chris Darway, Jeanette Landenwitch, and the many contributors to the Yahoo newsgroup.

Are we done? I don’t th ink so! Every week, new challenges appear, each one a fresh opportun ity fo r creative problem solving. Please send your personal discoveries to tech@PMCguild.com, and thanks in advance fo r sharing.

MATERIALSW Seed beads; 8°; fo r base [1 co lor]

W Seed beads; 11° & 15° [2 colors]

W Assorted flo w e r & leaf beads, crystals, etc. (Recommend a t least 5 varieties o f 3m m and 4mm accent beads and crystals)

W Tubular crim p beads; 2x2m m [2 qty]

W Flexible beading w ire; .015” dia [1 ft]

W Clasp o f yo u r choice [1 qty]

W Fireline thread; 6 lb

TOOLSW Beading needles [size 12]

W Crim ping pliers

W W ire cutters

W Clip

W Scissors

Bre a b e a d W o r xs

T R O P I C A L G A R D E N

1. Cut one fo o t o f flexible beading w ire and attach to one side o f clasp using a crimp bead. String on enough seed beads that is equivalent to your bracelet length. Attach a clip on beading w ire at the open end o f bracelet, making sure that the seed beads are snug to each other

2. Cut 6 feet o f Fireline thread and attach to beading w ire at crimp end o f bracelet between the crimp bead and the first seed bead, using a square knot. Be sure to leave about a 6” tail thread.

Attach a needle to the longer length o f thread.

W, anchor bead (15°)

Igarden beads -stem beads (11°) t

3. You are now ready to create the fringes. Fringes are intended to be random and o f various lengths. The 11° seed beads are used as the "stems” and the 15° seed beads are used as the "anchor beads” . A ll o ther beads are "garden beads” and can be added arbitrarily

Create a fringe and pass thread back through all beads except the anchor bead. Pass thread through first base seed bead.

BRACELET

Bre a b e a d W o r xs

page 2 o f 2 T R O P I C A L G A R D E N BRACELET

4. Continue to add fringes, making sure to create varied fringe lengths and using a variety o f garden beads.

W hen you've reached the end o f the bracelet, make a second pass fo r a fuller look o r pass through every o ther base bead fo r a less fuller look. You may also do a th ird pass if you want to fill in more.

5. End thread by tying half-hitched knots over base w ire in several locations and trim ends.D o the same fo r the tail thread.

HALF-HITCHED KNOTN eedle under thread. Pull thread to fo rm a small thread loop and pass needle th rough loop. Pull knot o ve r thread in weave, making sure you pinch y o u r stitch so th a t the pulling o f the knot doesn 't d is to rt you stitches.

N eedle th rough several beads and repeat at least tw o m ore times.

6. Crim p o ther end o f bracelet and it's ready to wear Enjoy!

Bre a b e a d W o r x s

Y IN Y A N G CUFF

MATERIALSI> R O U N D w ire; 12-gauge [15 inches] I> R O U N D w ire; 22-gauge [1 fo o t] t> Sm ooth round beads; 2m m [64 qty] t> Focal bead; 12-14mm [1 qty]

TOOLSt> Flat plierst> Chain nose pliert> Round nose pliert> Flush cu tte r (must cut 12-ga w ire )I> Ruler

wire forming

D E S IG N E D BY

C A N D A C E W H IT E

1. S tart by creating tw o beaded beads. C u t 5 1/2” o f 22-gauge w ire and create an eyeloop on one end, large enough to thread over 12-gauge wire.

2 . Create a spiral using about 1” o f wire. Remaining w ire should measure 4 1/2” . H o ld eyeloop at back o f flatnose pliers fo r a firm grip. Using you r thu m b push straight w ire around loop, rotate loop in pliers, and fo rm again.

3. Your swirl should look sim ilar to this.

4 . String on (32) 2m m sm ooth round beads. Create an eyeloop on o th e r end o f w ire tha t spirals inward tow ards first spiral end. Make sure eyeloop is large enough to thread over 12-gauge wire.

5. Form beaded coils by holding swirl end and slowly tu rn ing beaded w ire, form ing coils next to each o th e r until you have abou t and inch o f open wire.

6. Create spiral on o th e r end starting from the eyeloop.Tuck spiral in to place on end o f beaded coil, sim ilar to a bead cap placement.

If you d o n 't like the slack in you r beaded coils, continue to spiral bo th ends equally

Repeat steps 1-6 to create another beaded bead.

Br e a b e a d W o r x s

page 2 o f 2 Y IN Y A N G CUFF

7. C u t a 15” piece o f 12-gauge wire. String on y o u r focal bead w ith you r beaded beads on each side. Place beads at the cen ter o f 12-gauge wire.

10. Pull o u t curved w ire so th a t you can ham m er curve. Be careful no t to ham m er yo u r beads, and fingers. Flatten and tex- tu re , using the ball end, to you r liking. Move curve back in to place.

13. Using y o u r thum b, fo rm a sm oother bend to transition the w ire to fo rm the cuff.

8 . H old round nose pliers next to beaded bead and create a bend. D o the same fo r o th e r side but in the opposite direction. Make sure there isn't a lo t o f slack in w ire so you r focal beads are sliding to o much.

11. D o the same fo r o th e r side.

14. Hand fo rm cuff o r oval shape, try ing it on occasionally fo r size. If necessary tr im some excess w ire from both ends. But leave enough at ends to fo rm large eyeloops.

9. Line round nose pliers up w ith bend on focal segment and bend w ire back in opposite direction. D o the same fo r o th e r side.

12. Using flat nose pliers, bend remaining w ire up tow ards the cen ter po in t o f cuff. D o the same fo r o th e r side.

15. To finish, create eyeloops in opposite d irections and ham m er to harden.

Br e a b e a d W o r x s

CELTIC SPIRALS BRACELET

M A TER IA LS

W Round w ire; 16-ga dead-soft [9 feet] (You may substitute for 18-ga round wire; dead-soft [8 feet])

T O O L S

W Flat pliers; HEAVY W Chain nose plier; HEAVY W Round nose plier; HEAVY W Heavy duty flush cu tte r; 16-ga capacity W Bail pliers; 7 & 9m m W Sunshine polishing cloth

W Ruler

1. C u t 9" o f 16ga w ire (7" if using 1 8ga w ire ) and position in bail pliers about 4" from one end. Pull longer w ire around smaller side o f pliers and fo rm a full loop.

2 . Position pliers next to fo rm ed loop on the longer w ire end.

3. Form second loop right next to the existing one. Make sure o u r w ires are looped around on the same side.

4 . Position ru le r at the intersection o f the double loops and flush cut w ire to 3" length (2" if using 18ga w ire).D o the same fo r the o th e r side o f w ire.

5. G rab the end o f the 3" length o f w ire and create a small loop using you r round nose pliers. This w ill be the cen ter o f you r swirl so don 't make it to o large a loop.

6. Position small loop at the back pa rt o f you r fla t nose pliers and create you r swirl using you r thum b to move the w ire around loop. Reposition in pliers and repeat until you r swirl meets the double loops.

Repeat steps 5 and 6 fo r opposite side. C reate about 7 o r 8 celtic spirals.

Br e a b e a d W o r x s

CELTIC SPIRALS BRACELET

correct correct

7. Pictured are 3 samples o f the celtic spirals. The tw o to p ones are correct, but the swirls are facing in different directions. Be consistent when creating your double loops because this will affect the direction o f your swirls.

The b o tto m one is w rong because the w ires w ere no t on the same side when creating the double loops, the re fo re the swirls are no t on the same plane.

10. Create swirls using the same technique as the celtic spiral swirl.

hook end. Flush cut the rest off.

8 . To create the connectors cut a 2 1/2" piece o f 1 6ga w ire (1 W if using 18ga w ire). Make sure to flush cut both ends because we’re not going to trim ends later like the celtic spiral piece. Using a fla t nose plier; w ith about a 4m m tip w idth, center on length o f w ire and bend up creating right angles. I f you have a larger fla t nose plier, find the center o f the wire and m ark it with a sharpie. Measure 2m m on each side o f center line and create your right angles there.

11. O pen connecto r by using tw o flat nose pliers, o r a flat nose and chain nose, and hold on to each swirl to pull open enough to insert celtic spirals.

14. Create ou tw ard swirls on each w ire, leaving about 1/4" o f straight w ire.

9. Fold end w ires to each o th e r and w rap around flat nose p lier Be consistent on which side wrapped on the top or bottom, otherwise your swirls will switch directions from connector to connector.

12. To create the hook clasp cut about a 4" piece o f I6ga w ire (3 !/2" if using I8ga w ire). Bend length o f w ire in half using you r round nose pliers to give it a loop at the bend. Create hook at y o u r desired length by bending over round nose pliers and then straightening it the flat nose.

15. Bend swirls back in the opposite direction o f the h o o k Slide hook into loop o f last celtic spiral and pinch down to secure connection. Enjoy!

1. Create fo u r sets o f 4 closed jum p rings linked to 1 jum p ring.

4 . A ttach open jum p rings to each double ring end.

2 . Position the 4 jum p rings into left and right pairs in preparation fo r them to be linked toge the r

5. Position rings as pictured above w ith single rings sliding tow ards the left and double rings sliding tow ards the right. Insert single rings (teal rings) through pairs o f rings until you have finished the row. These rings are inserted from top, over to other ring, up, and close ring.

3. Using open jum p rings link each set o f double rings toge the r

6. C ontinue to next ro w inserting rings in the same fashion but from bottom, over to other ring, down, and close ring.

Br e a b e a d W o r x s

page 2 o f 2 D I A M O N D M AİLLE EARRİNGS

7. Insert 5 rings in row, from top, over to 8 . Insert 4 rings in row, from bo ttom , over 9. Insert 3 rings in row, from top, over too th e r ring, and up. to o th e r ring, and down. o th e r ring, and up.

Note: Odd count o f rings are inserted from top, over to other ring, and up.Even count o f rings are inserted from bottom, over to other ring, and down.

10. Insert 2 rings in row, from bottom , over to o th e r ring, and down.

11. To finish one side o f earring, insert one ring from top, over to o th e r ring, and up.

Flip w o rk over and repeat steps 5-11 to finish one earring.

Repeat all steps fo r o th e r side o f earrings. A ttach to earwire o f choice and you are finished.

(8 Brand New U)orkshopsf A ll u s e e k e n d d a t e s .

FRIDAY-SUNDAy

O C T O B E K 4 - 6

2 5 ofrentire purchase

"some restrictionsapply

,n £ a ^ e p t e m b e r ( 4 / / ,

(Ith Anniversary SalelBrea Bead Works turns 11 this October and we owe this achieve- ment to VOU! We realize that there are many choices for your beading needs and we wholeheartedly appreciate your support and friendship through the years. We look forward to servicing you for 11 more exciting years! Come celebrate with us and enjoy a bunch o f promotions, activities, and o f course snacks and fun goodies. You won't want to miss it! 0 The BBW Team

by Wendy Remmers

Flat Even Count Peyote fs * + 2 5 Saturday, October 12 (lOam-lpm)

Join us as ine learn one of the most basie off-loom bead uıeaving teehnique. The peyote stiteh has been seen in Mative American beadwork as well as Aneient Egyptian artifaets. İt can be woven in an even count or odd count of beads per rooı, although this elass oıill be foeused on the more popular even count. We’ll be making this simple and fashionable band bracelet featuring a Z hook clasp as the focal. All skill levels welcome. Materials list.

Basic U)ire UJorking * + 3 5 Sunday, October 13 (l-4 p m )

Learn the secrets of oıire ınorking as ine create the most basie design elements in handerafted jeuıelry. Students ujill learn how to make jump rings, eye pins, caged bead, a clasp, and a cute charm. After linking them all together, you ujill leave ujith a professionally crafted bracelet, all created by you! Heavy gauge oıire requires good hand strength. All skill levels welcome. Materials list.

A C S Bezel Settings * + 7 5 Saturday, October 12 (I0am -5p m )

There are so many ways to incoporate a bezel into metal clay. Learn various methods in this elass and also pick up on tips and trieks with ujorking with clay that shrinks and bezels that don’t. Sizing and design parameters will be diseussed to avoid disasters. Also learn traditional stone eetting and finishing teehniques. Metal clay skills, with at least 10 hours o f practice is required. Materials list.

ybu’ve Got Maille * + 2 5

Sunday, October 13 (l-4 p m )

Do you have any unfinished ehainmaille that’s sitting around ınaiting to get finished? Have you forgotten hooı to eontinue the oıeave? Or, have you started another one and forgotten how to start it? Here’s your ehanee to get back on track and get them done ujith Wendy by your side. Any student from U)endy’s previous ehainmaille dasses are eligible to attend. Materials list.

Rain Forest Morning * + 6 5 Saturday, October 12 (I0am -5p m )

The most unique and inventive kumihimo braid yet! When completed, it will seem as though strands of interior beads are caged inside an exterior braid and the color way is reversed for the second side. A second braid is added to make the tuıisted vine upon ınhich the sloth lazily hangs. Feel free to hang whatever forest creature or bead you luish. All skill levels luelcome. Prep session on ybu Tube. Materials list.

C o ra lR ee f * + 3 5 Saturday, October 19 (lOam-lpm)

Wire oırap lustrous pearls and crystals to form a delicate spray focal for your necklace. Learn how to incorporate various types of bead shapes into your design ana also how to ujire oırap using techniques used in tiara designs. Attach a length of chain to the focal and also learn how to create a cute hook clasp to finish. Basic wire ujorking experience is helpful but not required. Materials list.

Square Dance Twins * + 3 5 Sunday, October 13 (l-4 p m )

2quare Dance Toıins is reminiscent of ınomen all decked out in their frilly skirts and petticoats, ınhirling around their dance partners in an old fashioned hoedoınn. This bracelet is comprised of sparkling crystals arranged in circular patterns and dantily separated by additional crystals, all connected together in a right angle oıeave. All skill levels luelcome. Materials list.

E S B B

Ghada Links * + 5 5 Saturday, October 19 0 2 -5 p m )

Spikes are trending and seen on every type of accesory and clothing today. This fashion forınard bracelet features this very popular shape and has a silhouette that is reminis­cent of a Ghada hat found in Thailand. Weave this entire bracelet using the peyote stiteh, link them together, and create a snap elosure that makes this bracelet seamless and a eomfort to wear. Peyote stiteh experience is re- quired. Odd eount peyote is very helpful. Materials list.

by Veronica Fernandez

by Candace Steppes

by Sheilah Cleary

EEE H B

A • info@breabeadworks.com

by Wendy Remmers

Celtic Star Pendant * + 2 5

Sunday, October 2 0 (l-3 p m )

Weave this stylish six pointed celtic star pendant using four sizes ofjump rings. ybu’ll learn hom to mork in tight spaees and pick up on tips that makes inserting and elosing rings a bit easier. See hom quiek and easy this pendant can be to create. Basic chainmaille experience is helpful but not required. Requiredjump ring kits available in 2 2 , 2F, brass, copper. Materials list.

• * * i

by Sheilah Cleary

Leapin’ Leopard * + 4 5 Sunday, October 2 7 ( l2 -4 p m )

You probably knom hom to use a graph to follom a peyote stiten pattern. This class oıill introduee you to the tradi- tional Japanese method - no graph. It’s a much faster teehnique that’s fun to learn. And mhen you’re through, you’ll be sporting a unique animal print braeelet. No leop- ards ujİİI be harmed during this class. Basic peyote stitch experience is helpful. Materials list.

‘ ' Around & Around U)e Go * + 3 5Sun, Oct 2 0 (l-4 p m ) OR S u n ,N o v 2 4 ( l-4 p m )

We mili be meaving around and around as me make this Dutch Spiral stitehed braeelet. If you’re nem to bead meaving this is the perfeet class for you. This stieh is simple, it repeats, and it groms quiekly to form either a braeelet or neeklaee. Basic bead meaving experience is helpful but not required. Materials list.

{ $ v

*by Jennifer Soltero by Andrea Morris

Beading Fundamentals * + 3 5 (inoludes ali m aterials)

Sunday, October 2 7 (l-3pm )

Wem at beading? This class is espeeially designed for you. Learn the basies on beads, findings, stringing materials, tools, and hom to get started in the ujonderful ujorld of beading. Make a streteh and bead strung braeelet in this morkshop. Ali skill levels welcome. (ncludes ali materials.

by Candace Steppes

HollowForms * + 7 5 Saturday, October 2 6 (I0am -5p m )

Hollom forms give you the best opportunity to design big and bold due to its lightmeight nature. you’ll first create a unique shape to make a ring, pendant or perhaps a toggle clasp. Ghoose to make it in one or tmo metals and embellish to fit your style. you’ll reinforee so many beneh skills mhile making your piece and you’ll end up mith a stunning piece ofjemelry. (ntermediate soldering skills reouired, with a tleast 15-hours o f soldering practice. Materials list.

Ribbons & Bows * + 3 5 Saturday, November 2 (lOam-lpm)

Wrap your mrist ujith festive ribbon and bom motifs. This braeelet ineorporates eurved bar ehain segments that meave domn the length of the braeelet and embellished mith pearls, tinin beads, and lusesious seed beads. Ali skill levels welcome. Materials list.

Rosebud C uff * + 2 5 Saturday, October 2 6 (I0 a m -I2 p m )

Tinine heavy gauge mire in this euff class to fashion a pretty bi-metal euff The “rose” is the foeal point and can easily be embellished ujith a bead if desired. Students ujili learn about patina teehniques to create an aged finish. Ali skill levels welcome. 6ood hand strength is required to m o ve heavy wire. Materials list.

DoingtheJig * + 3 5 Saturday, November 2 (lOam-lpm)

Using the Olympus WigJig, create tmo ujire design eompo- nents used in this stylish braeelet. The beauty of thejig is that it enables you to make identieal components over and over again. It’s easy and fun to use and the design possi- bilities are endless. Ali skill levels welcome. Materials list.

by K at C lark by Veronica Fernandez

by K at C lark

Riveted Unisex Braeelet \ $ 3 5 Saturday, October 2 6 (l-4 p m )

Rivet ujire ovals in this eold eonneetion class and create an aged looking braeelet that both men and ınomen can enjoy ınearing. Simplieity is the key ınith this design, but in this multi-step class, you’ll be hammering and texturing metal, eonditioning leather, and creating a verde-gris finish on copper. Ali skill levels welcome. Materials list.

Gircles & Suuirls * + 5 5 Sunday, November 3 ( l2 -4 p m )

Hand form ujire filigree scrolls that ujili be soldered into a circular mire frame pendant. Also, create a bezel cup for a special cabochon and solder that into the same circular mire frame. Once done, use traditional bezel setting teeh- niques to finish. Basic torch soldering experience is required. Materials list.

by Candace Steppes

Intro to A rt Clay Silver * + 9 5 (inoludes ali m aterials)

Sunday, October 2 7 ( l2 -5 p m )

Create custom fine silver jemelry from moldable olay! Learn about this innovative material mhile creating tmo pendants. you’ll learn everything from tools and techniques as mell as firing, finishing, polishing and metal patination. Ali skill levels welcome.Ali materials ineluded.

O a k le a f Bangle * + 3 5 Sunday, November 3 (l-4 p m )

An elegant silver filigree Oak Leaf bangle beautfully conveys the coming minter. Fresh mater pearl demdrops adorn the leaf Students mili learn armatüre forming, mire meaving and forming a handmade hinge. U)ire luorking experience and good hand strength are required. Materials list.

by K at C lark

Fast & Easy Ring * + 2 5 Saturday, November 9 (I0 a m -I2 p m )

This ring isjust as the name says.J’s fast and easy and a real doozy using a Druzy or a fabulous erystal or stone. Learn to size and shape decorative pattern oıire to form a ring shank perfeet for your stone. Attach using traditional cold eonnneetion teehniques. You can easily make two to three rings in elass. All skill levels welcome. Hammering experienoe is helpful but not required. Materials list.

Belt Buekle Bangle * + 7 5

Sunday, November 17 (I0am -5p m )

This cool belt buekle bangle is designed to ehallenge many skills. First area of foeus is ıneaving multiple strands of wire to form the bangle, folloıned by a eustom fabrieated buekle elasp. Reinforce you sawing, filing, sanding, solder- ing, and finishing teehniques. This intense elass will reward uou ujith a fabulous bangle that is sure to be one-of-a-kind! M us t have intermediate soldering, sawing, and wire weaving skills. Materials list.

by Candace Steppes

A C S Flowering Fields * + 5 5 Saturday, November 9 ( l2 -4 p m )

Ineorporate fused art glass into your silver clay creations! Create blossoms of floıners around your glass focal that provide both a beautiful accent and also a funetional bezel. Learn about firing sehedules that oıill ensure a strong metal piece and a ineli annealed piece of glass. Basic metal olay experience and 5 -h rs o f A C S work is required. W ot e: Ring design requires you to bring a prepared un-fired band ring to elass. Materials list.

Embroidered Lady Necklace * + 4 5 Sunday, November 17 ( l2 -4 p m )

If you haven’t bead embroidered before, this would be a good introduction to it. Learn how to bead embroider a frame around a fashionable focal pendant that you ınill also make using resin, ybu’ll also spiral stitch a necklace to hang your new creation on. Basic bead weaving experience is required. Materials list.

I H B H

Starry Night Druzy Necklace * + 3 5

Saturday, November 9 (l-4 p m )

Coiled mire, beaded chain and a fabulous Druzy pendant make for a dreamy necklace that would make Van Gogh proud. Students start ınith just a pile of fresh water pearls, crystals and mire, and turn it into a beautiful statement piece. As a bonus, you’ll also learn how to create a handy 2” hook elasp and jump rings. All skill levels welcome.

Materials list.

A rt Deco Hoops * + 2 5 Saturday, November 2 3 (I0 a m -I2 p m )

Learn to shape ınire into these curvy Art Deco inspired hoops adn embellish them ınith crystals and pearls. Hammer and patina the earrings for an aged appearance. Students ujill complete at least one pair of earrings in elass. As a bonus, learn how to make your very own ear wires.All skill levels welcome. Materials list.

by K at C lark

Bead Crochet Patterns * + 4 5 Sunday, November 10 0 2 -4 p m )

Learn how to create different patterns ınith your bead crochet. You ınill learn patterns such as the Caterpillar, Diamond and Step designs. You ınill string these patterns in elass and make a sample of each, or eoneentrate on your favorite. Additionally, ine ınill explore how to develop a pattern using a grid and f you bring a speeial focal bead, ine can ınork on eustomizing a pattern for it.Bead crochet experience is required. Materials list. by Wendy Remmers

M ystic Vision * + 5 5 Saturday, Movember 2 3 0 2 -5 p m )

Chaton montees are used symbolieally as the eyes to your soul, where only you can release the mystery within. Entirely based on the peyote stitch, you’ll have a bunch of practice ınith the circular and tubular variety. Start by creating a perfectly sized bezel to capture a brilliant chaton montee erystal, eomplimented ınith eute peyote tube beads and toggle bar. Peyote stitch experience is required. Materials list.

by Candace Steppes

A C S Putting on the R itz * + 4 5 Sunday, Movember 10 (l-4 p m )

Create a fabulous ring, for those speeial oeeasions, that is sure to be a shoın stopper. Learn how to eonstruet a ehannel setting that ınili shoınease a large sparkling cubie zireonia that ınill provide the glitz and glamour. Teehniques inelude ring formation, syringing, and stone setting. Basic metal clay skills, including ring and syringe experience, is required. Materials list.

MoroccoChandeliers * + 3 5 Saturday, November 2 3 (l-4 p m )

Learn to use a grooved looping plier to make perfeet and consistently sized loops for these pretty little ehandeliers. Delieate and light as a feather, they can be embellished ınith a variety of materials such as gemstone briolettes, pearls, crystals or virtually any bead. As a bonus, learn how to make your very own ear wires. All skill levels melcome. Materials list.

by K at C lark

Spiral Stitch fs * + 2 5 Sunday, November 10 (l-4 p m )

If you’re looking for something simple and fun to make, start here ınith this eute spiral stitehed bracelet. This popular stitch is often maae aıith seed beads, hoınever crystals and a variety of other beads can be ineorporated for a more posh look. you won’t be disappointed ınith the addition of this stitch to your beading repertoire. All skill levels luelcome. Materials list.

by Wendy Remmers

Double Spiral Stitch fs * + 2 5 Sunday, November 2 4 (l-4 p m )

If you’ve already eonquered the traditional Sprial Stitch, try your hand at the Double Spiral. Learn how to create two spirals at a time to give you this cool rope effect.One benefit of this stitch is that the spirals tend to stay intact better, as opposed to the regular spiral stitch that needs to be manually spiraled. İt makes a beautiful bracelet and necklace too! Regular spiral stitch experience is required. Materials list.

oalendar at-a- 9 İanoeoctober - november 2 0 ( 3 18 Brand New Workshops!

All weekend dates.october 20(3

sunday monday tuesday wednesday thursday fr id a y satu rday

1 2 3 4 Anniversary Sale 5 Anniversary Sale

6 Anniversary Sale 7 8 9 10 11 12Flat Peyote Stitch fs 10a-lp ACS Bezel Settings 10a-5p Rain Forest Morning 10a-5p

13Square Dance Twins l-4p Basic Wire Working l-4p You've Got Maille l-4p

14 15 16 17 18 19Coral Reef 10a-lp Chada Links 12-5p

2 0Celtic Star Pendant l-3p Around & Around We Go 1-4p

21 2 2 2 3 2 4 2 5 2 6Hollow Forms 10a-5p Rosebud Cuff I0a-I2p Riveted Unisex Bracelet l-4p

2 7Intro to Art Clay Silver 12-5p Leapin' Leopard 12-4p Beading Fundamentals l-3p

2 8 29 3 0 31 Halloween

I0 a -5 p Holiday Hours

november 2013sunday monday tuesday wednesday thursday fr id a y satu rday

1 2Ribbons & Bows 10a-lp Doing the Jig 10a-lp

3Circles & Swirls l2-4p Oak Leaf Bangle l-4p

4 5 6 7 8 9Fast & Easy Ring I0a-I2p ACS Flowering Fields l2-4p Starry Night Druzy Nkl l-4p

Bead Groehet Patterns 12-4p ACS Puf+ing on the Ritz l-4p Spiral Stitch fs l-4p

16 6 th Session Workshop Registration

Starts

Belt Buckle Bangle 10a-5p Embroidered Lady Nklc 12-4p

Art Deco Hoops I0a-I2p Mystic Vision 12-5p Morocco Chandeliers l-4p

2 4Double Spiral Stitch fs l-4p Around & Around We Go l-4p

2 5 2 6 2 7 2 8 Thanksgiving Day

closed Happy Thanksgiving

2 9 3 0

w o r k s h o p p o l ic y :• Register for workshops in person or by phone. Full payment is required at time o f registration by cash, debit, or credit card.

• Materials and tools are not included with workshop fee unless specifically noted. Please inquire about tool rental options.

• Please purchase all supplies prior to workshop date. We offer a 10% discount on listed supplies. Some restrictions do apply. See store for details.

• Workshops are designed for students 15 years and older. Some exceptions may apply. Please inquire about specific workshop.

• Please be informed that some workshops may be held in a classroom that is accessible only by stairs.

• Please be prompt to class. We kindly ask that you do not bring guests to workshops.• Workshops are non-refundable unless we must cancel a workshop.

• You may cancel or transfer a workshop with 7 2 hour* notice prior to start o f workshop. A $ 5 cancellation/transfer fee applies.Balance will be issued as store credit only. *Guest instructor workshops require 3 0 day cancellation and/or transfer notice.

• Cancellations and transfers made with less than required notice will forfeit entire fee. You may send qualified substitute or receive workshop handouts.

MATERIALSt> T ierraCast fram e charms [3 qty] t> TierraCast hammered ring; 1” dia [1 qty] t> MagicGlos resin t> Toothpickst> Large loop chain [2 feet] t> Jump rings; 4-5m m open [17 q ty] t> Clasp o f yo u r choice [1 qty]

TOOLSt> Flat nose pliers t> Chain nose pliers t> W ire cutters t> U V lamp; optional

Br e a b e a d W o r x s

PICTURE THIS

uv resin charms

1. Create o r p rin t o u t images th a t you w ou ld like to make in to charms. If printing from an ink je t p rin te r please fix the ink by spraying a fine m ist o f fixative o r aerosol hair spray. Let d ry com plete ly

2 . C u t images to fit and set in frame. 3. Slowly squeeze MagicGlos on to image from the center: A pp ly in th in layers to avoid bubbling. If bubbling does occur; remove air bubble by holding a lighter above bubble until it rises and pops.

4 . Use a to o th p ick to push resin to edges o f fram e.This is a self dom ing resin and it w ill typically stop spreading once it reaches a boundary like the charm edge.

Repeat fo r o th e r tw o charms.

5. Carefully place charms in U V lamp and cure fo r about 15 minutes.You may also cure in natural sunlight fo r about 30-40 minutes. W hen curing outside in natual sunlight, cover charms w ith a glass dish to p ro te c t it from dust.

6. A ttach charms to large ring using open jum p rings. Dangle charms at different lengths so each charm is exposed. Finish by attaching chain and clasp using open jum p rings.

N o w it's ready to wear!

M ATERIALS

t> Lam pw ork beads; I 5 x l l m m [2 qty] (bead hole must accommodate 3 strands o f 22-ga wire)

t> Leaf bead [1 qty] t> Round w ire; 22-ga dead-soft [2 feet] t> Earwires o f y o u r choice [1 pair]

T O O L S

t> N ylon jaw flat nose pliers t> Round nose pliers t> Flat nose pliers t> Bent chain nose pliers t> Flush cutters

Br e a b e a d W o r x s

PRECIOUS PETITE PUMPKINS

wire wrapping

designed & illustrated by

brenda araiza

1. C u t 7" o f 22-ga w ire and make an eyeloop on one end, large enough to pass w ire through th ree times.

2 . G rip eyeloop w ith flat nose pliers. Push length o f w ire w ith thu m b and index finger and spiral around eyeloop, rotating p lier grip on form ing spiral. Leave 5 1/2" o f straight w ire.

/ *3. C ente r length o f w ire to spiral by holding on to spiral w ith fingers and bending length o f w ire backwards using flat nose pliers.

4. Hold spiral end w ith fingers and bend length o f w ire 90° to spiral.

5. Bend length o f w ire flat across spiral, having it lay over spiral.

fig 7B fig 7 C

6. Hold bend o f length o f w ire atop spiral w ith fingers and using flat nose pliers, bend length o f w ire 90° to spiral and centered to spiral.

7. N o w it's tim e to insert lam pw ork bead on length o f w ire. Run w ire through spiral and bead, pulling w ire up through to p o f bead hold (fig 7A). Repeat on opposite side (fig 7B) having w ire exit from to p o f bead (fig 7C).

Br e a b e a d W o r x s

page 2 o f 2 PRECIOUS PETITE PUMPKINS

fig 8B fig 8 C

8. Straighten tail w ire using nylon jaw flat nose pliers (fig 8A). Create an eyeloop w ith round nose pliers (fig 8B ).W rap w ire down to base o f bead but D O N O T cut excess w ire (fig 8C).

10. A ttach to earw ire and you're done!

Repeat steps fo r o th e r earring.

fig 9 A fig 9B

9. Insert a small leaf bead on tail w ire (fig 9A). Create a small spiral at end o f bead to secure (fig 9B). A ttach to earwire and you're done!

Repeat steps fo r o th e r earring.

M ATERIALS

I> R O U N D w ire; 12-gauge [3 feet] (copper, sterling silver, or gold-filled)

T O O L S

t> Flat nose plierst> Round nose pliers; larget> Flush cu tte r (must cut 12-ga w ire )t> Chasing o r planishing ham m ert> Steel bench blockI> Ruler

Br e a b e a d W o r x s

R IB B O N W R A P B A N G L E

wire forming

designed by

candace white

1. C u t 3 feet o f 12-ga w ire and flush cut both ends. Create a large eye-loop using back o f round nose pliers. Repeat fo r o th e r end o f w ire but w ith eye-loop in opposite direction. H am m er eye-loops using chasing hammer:

2 . Radomly flatten length o f w ire leaving some areas in it's natural round state.

3. Using ball side o f chasing hammer; o r embossing hammer; create tex tu re on flattened po rtions o f w ire, including eye-loop. It's no t necessary to tex tu re opposite side o f wire.

4 . S tart form ing in to a circular shape, large enough to insert over hand.

5. C ontinue to coil length o f w ire using the initial loop as a guide. D o n 't w o rry abou t coils varying a little.

6. O nce you have sized the coil, open eye-loop ends and insert in to inner coil

T ighten to fit by slowly decreasing each coil and it's now ready to w ear

Your Guide to

W elcom e to FASTfire BRONZcIay™

FA S Tfire B R O N Z cIay™ is e a s ily s c u lp te d , m o ld e d , c a rv e d

a n d fo rm e d , a n d b e c o m e s s o lid b ro n z e w h e n fire d . Y our im a g in a tio n a n d ju s t a fe w s im p le to o ls w ill a llo w you to

c re a te so lid b ro n z e p ie c e s — fro m jevvelry to s c u lp tu re and

e v e ry th in g in betvveen!

VVorking w ith FASTfire BRONZcIay™FA S Tfire B R O N Z cIay™ is ju s t tha t: a c la y . L ike c la y , it ’s

h ig h ly vvorkab le b u t it a lso d r ie s q u ick ly . Y o u ’ll n o tic e the c la y s tiffe n in g an d c ra c k in g w h e n it b e g in s to d ry . S om e

t ip s to ke e p in m ind :

♦ C o n d it io n y o u r h a n d s vvith S lik b e fo re you b e g in vvorking

vvith the c la y to ke e p it fro m s tic k in g to hands .

♦ C o n d it io n th e c la y vvith S lik b e fo re u s in g it. Th is vvill e x te n d

the vvorking tim e a n d g iv e th e c la y a b e tte r tex tu re .

♦ A v o id u s in g to o ls th a t a b s o rb vvater.♦ VVrap a n y p ie c e s th a t yo u a re no t c u r re n t ly vvorking vvith in

p la s t ic vvrap to re ta in m o is tu re .

♦ VVhen no t in use, k e e p th e c la y t ig h t ly vv ra pped in p la s t ic an d p la c e th e vv ra pped p ie c e in a s e a le d p la s t ic b a g fo r a d d e d p ro te c tio n . R e fr id g e ra te vvhen no t in use.

M aking SlipS lip vvill q u ic k ly b e c o m e on e o f y o u r fa v o r ite to o ls fo r vvorking vvith FA S Tfire B R O N Z cIay™ , a n d it’s e a sy to m ake.

S im p ly m ix t in y p ie c e s o f c la y (filin g s , sm a ll d r ie d o r vvet p ie c e s , e te .) vvith vvater (vve re c o m m e n d d is tille d vvater fo r a lo n g e r sh e lf- life ) un til you re ach a y o ğ u rt c o n s is te n c y . K e e p your s lip stored in a s e a le d Container

Drying the ClayO n c e y o u ’ve fin is h e d y o u r p ie ce , you vvill n e e d to d ry th e c la y b e fo re f ir in g it. G e n tly p la c e th e p ie c e on a vvarm ing s u r fa c e su ch as a c o ffe e m u g vvarm er o r the top

o f a k iln (b e c a re fu l to ke e p p ie c e s avvay fro m the k iln ’s

ve n ts ); an in e x p e n s iv e v e g e ta b le d e h y d ra to r vvorks vvell, too . O n c e dry , y o u ’ll n o tic e th e c la y is le a th e r ha rd , m a k in g

it ve ry e a sy to a d d fin is h in g to u c h e s su ch as f ilin g , d r ill in g , s a n d in g a n d c a rv in g . O n c e FA S Tfire B R O N Z c Ia y ™ is fire d ,

it ’s m u ch m o re d if f ic u lt to fin ish , so ta k e a d v a n ta g e o f th is

p re -fire d s ta g e to d o as m u ch o f y o u r f in is h in g vvork as p o ss ib le .

Available at:

COOL TOOLS

FASTfireBRONZC ay

FiringW e h ig h ly re c o m m e n d th a t you fire a te s t p ie c e (a t leas t 11/2" x 1/2" x 4 c a rd s th ic k ) at 1 5 2 5 °F /8 3 0 °C (th e

re c o m m e n d e d te m p e ra tu re ). If the te s t p ie c e b lis te rs , lovver th e te m p e ra tu re to 1 5 0 0 °F /8 1 6 °C . If the te s t p ie c e b re a ks vvhen yo u try to b e n d it, ra ise th e te m p e ra tu re to

15 5 0°F /843 °C .

To re d u c e o x id a tio n , p ie c e (s ) m u s t be s u r ro u n d e d by

a c tiv a te d c a rb o n d u r in g fir in g .

S p re a d 1" o f a c tiv a te d c a rb o n g ra n u le s on the b o tto m

o f a s ta in le ss Steel fir in g C on ta ine r

N o t e : M o s t k iln s a re c o o le r in the fro n t, n e a r the d o o r, so the front of your fir in g Container vvill be cooler than the other s id e s . C o m p e n s a te for th is p o s s ib ility b y p la c in g the

p ie c e s eloser to the s id e s an d back o f the f ir in g Container.If yo u ha ve a to p - lo a d in g kiln , th e re ’s no n e e d to a d ju s t.

1. P lace th e p ie c e on to p o f th e layer; if f ir in g tvvo o r m o re p ie ce s , leave a t le a s t 1/2" betvveen p ie ce s , m o re if the p ie c e s a re la rg e .

2. P our m o re a c tiv a te d c a rb o n g ra n u le s on to p o f the p ie c e s un til the C on ta ine r is fu ll, m a k in g su re th e re is a

1/2" la ye r o f g ra n u le s on to p o f e a ch p ie c e . If yo u are f ir in g m a n y p ie c e s in laye rs , m a ke su re th e re is at leas t 1/2" o f s p a c e betvveen th e v e r tic a l la ye rs as vvell.

3. Put a s lo tte d s ta in le ss Steel lid on th e fir in g C on ta ine r (o r o ffs e t y o u r so lid lid to c re a te a g a p ) a n d se t it in th e kiln on s tilts to allovv g o o d h e a t c irc u la tio n .

4. R am p a t fu ll s p e e d to 1525°F , a n d h o ld fo r 2 hours.

N o t e : A fte r f ir in g , a re s id u e vvill b e le ft on the f ire d p ie ce s . Th is re s id u e is e a sy to re m o ve vvith ru n n in g vvater an d m u s t

be vvashed o ff p r io r to f in ish in g .

FinishingO n c e fire d , the FA S Tfire B R O N Z cIay™ p ie c e is s o lid m e ta l. A s vvith o th e r m e ta ls , it ca n be savvn, d r ille d , s a n d e d , p a tin a e d o r s o ld e re d u s in g tra d it io n a l jevvelry to o ls and

m a te ria ls . K e e p in m in d th a t m a n y fin is h in g te c h n iq u e s vvill be e a s ie r to p e rfo rm a t the d r ie d , p re -fire d s tag e . R e p a irs ca n b e m a d e b y a d d in g fre sh c la y a n d re -fir in g .

SafetyThe b in d e r in FA S Tfire B R O N Z cIay™ is n o n -to x ic , a n d no to x ic fu m e s vvill be p re s e n t d u r in g fir in g . T h o u g h ra re, it is p o s s ib le fo r som e in d iv id u a ls to e x p e r ie n c e a se n s it iv ity to FA S Tfire B R O N Z c Ia y . W e re c o m m e n d vvearing a d u s t

m a sk vvhile vvorking vvith a c tiv a te d ca rb o n .

www.CoolTools.us / 888-478-5060 / 323-386-2323© 201 0 Cool Tools / Ali R ight R eserved

*

CoolSlipAnti-Stick Spray for Metal ClayReleases clay cleanly from almost any object, Use on tools, textures and vvorksurfaces

fdl

Use CoolSlip to treat any rubber stamp or texture prior to impressing metal c lay onto the surface. M ist the ob ject or texture vvith CoolSlip, then impress or roll the c lay onto the surface. The clay vvill release cleanly.

♦ To contain overspray, try p lacing your ob ject into a small p lastic box or shoebox and m ist from approxim ately 8".Allovv the spray to evaporate (takes about 15 seconds) and then use the item.

♦ A single m ist of CoolSlip lasts for several impressions. Spraying more vvill not make the product vvork better.

♦ Seal pourous objects such as vvood or shells vvith a sealer before using vvith metal clay. Before impressing the clay onto the sealed object, m ist vvith CoolSlip.

♦ CoolSlip is designed to be used on objects as an anti-stick solution, but not the c lay itself.İt is not a vvetting agent like vvater.

♦ CoolSlip is not designed for use on hands. To keep clay from sticking to hands, try C layMate or Slik. C layMate is vvonderful on hands that are normal to moist (Product Code: NST-102). For dry hands, try our silky smooth soy-based product, Slik (Product Code: NST-101).

♦ CoolSlip is not necessary or recom m ended on the Cool Tools C layboard. The C layboard has a Teflon surface that does not need a release.

COOL TOOLSBRONZcIay Firing İnstructions

Quck Start BRONZcIay FiringAt the end of this article is our Q uick Start BRONZcIay Firing G uide to get you up and firing. If you w ant to know more about the technical aspects of firing BRONZcIay, the rest of this article explores those areas in detail.

C

BRONZcIay Firing Schedulesİnside each pouch of BRONZcIay is an insert that contains 2 firing schedules. VVhich one you use is determined by the thickness of the item being fired. There is a "thin" firing schedule for a thickness of 6 cards (3mm) and less, and a "thick" firing schedule for clay thicker than 3mm.

The "thin" schedule seems to w ork vvell for most people, but takes 5 hours. I wanted to see if that time could be shortened. The "thick" schedule gave me some problems in sintering over 5mm in thickness. Some pieces only formed a thin shell of metal vvith povvdered bronze in the core, and some came out brittle. I vvanted to find out w hy those things happened and figüre out a firing schedule that vvould vvork for every BRONZcIay firing.

M y firing schedules are based on some very simple observations. VVhile experimenting vvith torch firing, I noticed that BRONZcIay splits from the inside vvhen heated too quickly. Another observation vvas that thin pieces, 3mm and less, d idn 't seem to be bothered by rapid heating. İt vvas only vvhen the thickness vvas more than 3mm that splitting occured. VVith those ideas in mind, I realized I could heat thin pieces at full ramp speed, saving 2 hours in the total firing time.

I have also found a vvay to determine the time required to sinter any given clay thickness by using a simple formula:Divide your kilns target temperature by the thickness of the clay and you get the rate of heat per hour. The firing duration is automatically set vvhen you enter in the rate of heat. The duration is roughly equivalent in hours to the thickness of the clay in millimeters. For instance, an item 7 millimeters thick takes a little under 7 hours to fire from start to finish.

I have successfully sintered pieces up to 1 inch thick using this formula, and Bili Struve (inventor of BRONZcIay) has suc- cessfully fired a 2 inch diameter solid sphere vvith my formula.

How to Calculate a BRONZcIay Firing ScheduleHere are the factors that determine the firing schedule for a particular kiln, assuming you are firing in the Standard 2 -3 /4 " (short) firing pan or 4 " (tali) firing pan:• Kiln vvattage and size determines target temperature & hold time• C lay thickness determines heating rate• Kiln type determines cooling method

Kiln W attage & Size Determines Target Temperature and Hold TimeLook at the electrical data plate on your kiln and find the vvattage, listed as VVATTS. Your target temperature, if your kiln is an SC2 1 4 4 0 VVatt model, vvill be 1550F. For the SC2 1 6 8 0 vvatt model, your target temperature vvould be 1490F.

COOL TOOLSTarget Temperature & Hold Chart

Target Hold TimeKiln Model W attage Temperature Short Pan Tali Pan

E9AX 1100 1550F 0 2 hrs

Firefly 1680 1490F 0 2 hrs

C aldera 1680 1490F 0 2 hrs

SC2 1440 1550F 0 2 hrs

SC2 1680 1490F 0 2 hrs

E360 1500 1550F 0 2 hrs

E450 1800 1490F 2 hrs 2 hrs

SC3 1680 1550F 2 hrs 2 hrs

SC3 2000 1490F 2 hrs 2 hrs

Xpress E14A 3120 1490F 2 hrs 2 hrs

Home Artist 1800 1490F 2 hrs 2 hrs

Hold TimesSome firings require a hold time for proper sintering. Using a 4 " tali pan vvill a lways require a hold time, regardless of the kiln w attage and size. O nly the short pans can be fired without the hold time. Since it is a lways safe to add a 2 hour hold time to the end of a program to assure full sintering, if you have the time, its a good idea.

If your kiln is not listed here, you can easily find your target temperature. C lick here for instructions on finding your kilns target temperature.

Clay Thickness Determines Heating RateVVhen programming a kiln for a firing, the rate of heat is set first. The rate of heat is how fast, in degrees per hour, the kiln heats to it's target temperature. For a BRONZcIay firing, the rate of heat is determined by the thickness of the clay.

Use a millimeter gauge to measure the item to be fired at its thickest point, a lways rounding up to the next w hole number. Divide that number by your kilns target temperature. The result vvill be the rate of heat per hour. İt is not necessary to use a precision instrument for measuring. A simple plastic or brass gauge is sufficient.

I've calculated the rate of heat for firings up to 1 6mm thick in the chart belovv.

Heating Rate for a Given BRONZCIay Thickness

Thickness in

Heating Rate in DegreeMillimeters

s Fahrenheit (per ıour)

Temperature O H O m m m D 16

1490F Full Speed to :-Im J 93

1550FTarget Temp

387 310 258 221 193 172 155 140 129 119 110 103 96

To program the kiln for the 6mm thick BRONZcIay firing, set the rate of heat to 248F per hour, the target temperature to 1550F and the hold time at 2 hours. VVith this program, the kiln vvill heat at a rate of 2 4 8 degrees Fahrenheit per hour until it reaches 1550F, then the program vvill hold this temperature for 2 hours. After the hold time, the kiln vvill signal completion and begin to cool. If your kiln has a small interior and you are using the small firing pan, the hold time vvould not be necessary. (For simplicity, you could alvvays add the 2 hour hold time to the end of a firing for good measure).

COOL TOOLSW hat is Thickness?Keep in mind that w idth is not the same as thickness. For instance, if you roll out a slab that is 4mm thick, 20mm long and 15 millimeters w ide , how long should it be fired? The answer is 4 hours. İt might be 2 0 millimeters long, but it's only 4 millimeters thick. İt might be 15 millimeters w ide , but it's only 4 millimeters thick. W e measure only the thickness to determine firing duration. If 2 strips, each 4mm thick are attached together vvith paste, the assembly vvould then measure 8 millimeters thick and vvould require the 8 hour firing schedule. Be certain to measure at the thickest part of your c lay for complete sintering. For a firing that contains a variety of thicknesses, use the program for the thickest portion of the piece. Firing thin pieces longer vvill not hurt them.

Kiln Type Determines Cooling MethodThe rate at vvhich BRONZcIay is cooled can affect the final product. If the metal is cooled too slovvly, it can become brittle. If it is quenched in vvater vvhen it is too hot, it can also become brittle. Brick kilns can hold heat in long enough to cause brittleness in the metal vvhen it's left to cool in the kiln. If you have a brick kiln, it is recommended that you crash cool the kiln. If you have a ceramic fiber kiln, the kiln can be left until it returns to room temperature or it can be crash cooled.

Crash CoolingTo cool your pieces quickly vvithout inducing brittleness, follovv this procedure after the firing program has completed: On a front loading kiln, open the door about an inch and vvait until the temperature reads belovv 1 000F before opening the door ali the vvay for maximum cooling. At this point, the pan can be left to cool inside the kiln vvith the door open, or the pan can be removed and cooled on a trivet. Use a pan fork to remove the firing pan. Remove the lid and allovv the pan to cool for about 15 or 2 0 minutes before d igg ing up the treasure vvith a sifting spoon. The carbon is going to be very hot for several hours, so do not attempt to use your fingers. Obviously, you need to use extreme caution vvhen vvorking vvith hot kilns and firing pans, so be smart and take ali precautions to stay safe.

To crash cool a top loading kiln, slide the kiln lid o ff to one side by 2 or 3 inches for the heat to escape. Allovv the kiln to cool to 1 000F, then remove the kiln lid completely and finish cooling the pan in the firing chamber.

O nce the kiln has been crash-cooled, and the firing Container lid removed, You can cool BRONZcIay pieces rapidly by quenching in vvater if there are no stones em bedded. I often remove BRONZcIay pieces from the carbon vvhen the metal is stili too hot for my fingers. I use a slotted spoon to sift my pieces out of the carbon. As long as the bronze is not hot enough to burn paper, it is safe to quench in vvater to cool, hovvever quenching BRONZcIay at temperatures above 1000F may result in brittleness. Do not quench BRONZcIay pieces vvith embedded cubic zirconia, lab or natura g e m sto n e s .< b rxb r> lf you remove the pieces vvhen they are more than 600F, the metal vvill oxid ize instantly in the air.I've götten some İovely antique finishes this vvay. You can also plunge the piece back into the hot carbon to change the

patina. Use tongs of coursel

Bronze Clay Firing Container OptionsAny stainless steel Container that can hold a volüme of activated carbon can be used to fire BRONZcIay as long as it is marked "stainless steel". O f ali the containers I tried, the square stainless steel firing pans are the most convenient, roomy and easiest to deal vvith. Since most people are firing in these pans, the firing chart and temperatures given here apply to the 22 gauge stainless steel 4 " high and 2 .7 5 " high square firing pans. W e offer the firing pans in kits vvith activated carbon and other tools in our online store.

I've test fired in small stainless steel bovvls of various sizes, tin containers, fused silica melting dishes, and stainless steel foil (not aluminum). Ali o f these containers vvork, but the firing schedule have to be adjusted to accomm odate the particular Container used.

COOL TOOLSAvoid plated stainless steel. Some stainless steel is plated to make it more brilliant and shiny. If you use a plated Container, you'll hear the snap and crackle of the plating popping off as the kiln heats and cools, making a big mess inside the kiln. I'm not sure if it's good or bad to have this burned plating mixed into the carbon, but my guess is it's not. If you use a Con­tainer that flakes like crazy, vacuum your kiln, clean your carbon (instructions below) and find a Container that isn't plated.

Do not fire in an aluminum Container or in aluminum foil. Stainless steel foil is N O T the same as aluminum foil. Aluminum melts at about 1 220F. The lowest temperature that BRONZcIay is fired at is 1490F, so an aluminum Container w ould melt during the firing. Using aluminum utensils to take your pans out of the kiln is just fine. İn order for an aluminum tool to melt, it w ould have to be placed in the kiln long enough to reach the melting point. Just taking a firing pan in and out using an aluminum utensil is not a problem. İt is also perfectly safe to use aluminum utensils to remove items from the firing pan itself. The first sifter I used to d ig up my treasures was an old aluminum slotted spoon.

Activated Carbon ChoicesBRONZcIay is fired in activated carbon, the same stuff used in water filters. There are 2 kinds of activated carbon that can be used: coal and coconut. Firing in the coconut-derived carbon is supposed to give a clean bronze color to the metal, but l've almost always ended up vvith some coloration, and the coalbased carbon gives the metal a colorful, but somevvhat unpredictable patina. The patina is the result o f meta İliç impurities in the coal, and the specific colors are influenced by temperature.

VVhile it seems easy to skip dovvn to the store to buy some activated carbon, I do not recommend buying off-the-shelf carbon. İt's important to knovv vvhat type of activated carbon you are buying. Some carbons are acid vvashed as part o f the activation process. Acid-vvashed coal carbon is okay, but acid-vvashed coconut carbon is unsafe because vvhen heated, toxic fumes are released. Resist the temptation to buy generic activated carbon because there is no guarantee vvhat type of carbon it is. W e offer the firing pans in kits vvith activated carbon and other tools in our online store.

Activated carbon is made by slovv heating a fuel in an oxygen-free environment. To make carbon from coal, coa is heated to high temperatures and all but the carbon is burned out of the coal, leaving pure carbon. To make carbon from coconut, coconut shells are heated in the same manner. To "activate" the carbon, it is exposed to oxygen or gasses and sometimes chemicals, depending on the characteristics desired.

Carbon is the 4th most abundant element in the universe by mass. Every living thing has carbon as one of its building blocks

Kiln LocationLocate your kiln vvhere it can be observed frequently, and vvhere children and animals cannot get to it. There should be no shelves or cabinets above the kiln, and the back of the kiln should be no closer than 6 " to a vvall. Choose a place vvhere you'll have plenty of space for tools and cooling tiles. A tabletop or portion of a counter can be covered vvith ceramic tiles to protect from burns. A vvood vvorkbench makes a sturdy firing station, and a vvood cutting board vvith an iron trivet set on top makes an excellent cooling rack for kiln shelves and firing pans. Enameled surfaces are another very good surface for a kiln, and many people have discovered that the top of their dryers offer prime kiln real estate. The top of a dryer doesn't leave a lot of room for tools, though, and you'll p robably find yourself vvanting to spread out to the vvasher as vvell.

COOL TOOLSYour firing station should include a pair o f heavy leather gloves, a pan fork, and a sifting spoon to remove items from the carbon. Keep a bucket and a mesh sifter on hand. You'll use it to sift the carbon for small parts and for occasionally cleaning the ash that vvill accumulate in the carbon.

If your firing station is inside a room vvith carpeting, put a safety mat in front of the station in case of accidents. Keep a fire extinguisher at the ready for emergencies.

Loading the Firing Containerİt is recommended that the c lay is placed on a 1" thick bed of activated carbon, and then covered over vvith additional carbon, fiIIing the Container to the top. I don't find it necessary to fiil the Container to the top vvith carbon, and I believe packing the Container may lead to firing failures. I leave at least Yi" of a ir space betvveen the level of the carbon and the top of the pan.

Pieces can be located at the bottom of the pan, but there must be some carbon betvveen the bottom of the Container and the BRONZcIay. Pieces fired at the bottom often come out vvith a solid pale yellovv, gold or green patina. This may have to do vvith either the temperature or the carbon d iox ide that pools at the bottom of the Container. VVhatever the reason, it's a beautiful patina.

Situate the pieces in the carbon to vvork vvith gravity. The carbon makes a good firing support for many items, but some pieces can deform or slump from the dovvnvvard force of gravity during firing. Counteract gravity by placing domed items face dovvn in the carbon. Position hollovv shapes vertically in the pan. Look at the piece and imagine gravity pressing dovvn on it. Situate the piece in the pan in such a vvay that it has the most strength against gravity.

If I have just a fevv pieces to fire, I usually push or vvriggle the pieces into the carbon bed. At first I vvorried that I might scratch pieces by just thrusting them into the carbon, but they seem to hold up just fine. For delicate pieces, I d ig a little hole and place the piece in gently, making sure it is fully supported from belovv before covering it over vvith carbon. have also found that I can just place my pieces on the surface and shake the Container. The pieces then sink into the carbon like they are in quicksand.

M ultip le pieces can be fired at once. For larger loads, it's easiest to pack the Container in layers and pour carbon over each layer so you knovv exactly vvhere each piece is and you don't accidentally allovv pieces to touch and fuse together.

Pieces that are touching during firing may fuse together. If you do not vvant pieces to fuse, do not allovv them to touch during firing. İn firing pieces that are interlocking, such as chain links, small pieces of fiber paper can be used to separate the parts during firing.

The position of your c lay pieces in the firing pan can make a difference in the outcome of your vvork. If you have a front- loading kiln, there are no heating elements in the door. That means the front of the kiln is going to be cooler than the sides and the back. İn firing experiments, identical pieces vvere placed inside a firing pan and their positions noted. A piece positioned at the cooler front of the kiln d id not shrink as much as one located in the hotter back of the kiln. Both pieces vvere very strong and could not be bent by hand, but they did not sinter equally due to the cooler temperature in the front o f the kiln. Keep this in mind if you need all your pieces to sinter equally and locate them strategically. İn a front-loading kiln, there are no elements in the door, the floor or the roof. A top-loading kiln has heating elements all the vvay around the chamber. If you are using a top-loading kiln, you can distribute your pieces evenly in the firing pan, noting that your cool spots vvill be at the bottom of the pan. Activated carbon particles can get into nooks and crannies and inhibit shrinkage or leave marks. A small bit o f fiber blanket can be used to plug an area that you do not vvant filled vvith carbon, such as a bail.

Witness StripsM ake and keep handy small strips of dried bronze clay about ]A" vvide by 3" long and in typical thicknesses used in your vvork. İnclude a vvitness strip in the same thickness as the thickest piece in your BRONZcIay firing. The vvitness strip vvill serve as your "done-ness indicator".

COOL TOOLSAfter firing, try to break the fired witness strip vvith using tvvo pairs of pliers for pieces 5mm thick and less, or for thicker pieces, hammer the heck out of it and see if you can break it. I use an old bail peen hammer to test my thick pieces. I place the strip on a steel bench block and vvhack the living daylights out of it. If Firing BRONZcIay - An Improved Firing the BRONZcIay is fully sintered, it vvill distort but not break. If it breaks easily, something vvent vvrong. The problem can be determined by vvhat the broken piece boks like. Be sure to vievv my article on troubleshooting to determine the problem and find the solution.

I have recently discovered that I can vvrite on BRONZcIay and the vvriting actually survives the firing. Pencil, ink pen, india ink, and felt pen ali survive the firing. The vvriting can be polished off, but for making notes for firing, it's good to knovv that you can vvrite directly on the unfired clay and it vvill not burn off. This is also a great technique for identifying vvho's is vvho's vvhen firing for a classroom.

Placement in the KilnThe firing pan should be centered in the kiln as much as possib le. D o not allovv the therm ocoup le to touch the firing pan as it can cause incorrect tem perature readings and result in over o r under-firing. İt's best to e levate the firing pan on kiln posts, even if they are on ly Yı" tali. This allovvs the heated a ir to c ircu la te around the Container during firing and provides a more even tem perature to the Container.

İn a b rick kiln, there a re single elements in a g roove several inches apa rt. Boost your firing pan up on kiln posts to have the center o f it a lig n e d vvith one o f these elements if you have a brick kiln. İn the C a lde ra , I use Yı" kiln posts and center the Container as much as possib le. İn the E9A-X I p lace the pan d irec tly on the kiln floor, centered left and right and abou t Yı" from the therm ocoup le to the back.

İn a ceramic fiber (muffle) kiln, the elements are em bedded in the vvall and run back and forth on the sides. İn an SC2,I set my firing pan, vvhether it's tali or short, on 1" kiln posts, and center it left and right, pulled as much to the front as possible.

Gemstones & InclusionsNatural and lab created gemstones and most cubic zirconia can be embedded directly in BRONZcIay and fired in place. Check out our Gemstones in M etal C lay firing guide to see vvhich stones can be fired in BRONZcIay. Testing has shovvn that any stone that can be fired in silver clay can survive a BRONZcIay firing for longer times and at higher temperatures than in silver c lay

Tanzanite cubic zirconia is a heat sensitive stone. İt's so sensitive in fact that it can only be heated to 1 1 1 OF for a maximum of 1 0 minutes before it starts to darken. But I fired this stone for 9 hours in 2 separate firings for a total o f 1 8 hours in the kiln at 1550F in activated carbon. After each firing the color vvas as brilliant as an unfired control sample.So, it's oxygen that causes the problem in heating this type of stone, not the actual heat itself.

I've also tested several other heat sensitive stones and they have also survived better in the carbon than in an open air firing. Diamonds are a stone that do not survive in a silver clay firing, but can survive vvhen buried in activated carbon.

Natural gemstones must be louped to be sure they are safe to fire. If you can see little cracks or spots in a stone vvith your naked eye, the stone probably is not safe to fire. The pressure imposed on an em bedded gemstone stone by sintering metal (vvhich shrinks about 25%), can be enough to shatter an already fractured stone. Examine each gem vvith a 10-povver jevvelers' loupe. If you see cracks or little particles inside the stone, firing it may be a gamble. At the very least, leave some space around the stone for the c lay to shrink so there is not so much pressure on it.

• Most glass cannot be co-fired vvith BRONZcIay. The firings are too long and too hot, hovvever according to one glass artist borosilicate glass can be fired in place. I have not tested this claim.

• Sterling silver and fine silver cannot be co-fired vvith the BRONZcIay. The metals vvill attempt to a lloy (mix) vvith each other in an unattractive vvay.

COOL TOOLS• Precious metal clay cannot be co-fired vvith BRONZcIay. These tw o clays can be combined, but not during the

sintering phase of BRONZcIay• Copper, Brass and Bronze can be em bedded in the c lay and co-fired.

ShrinkageOverall shrinkage is probably about 25%, but that's not 25% in every direction necessarily. Strangely enough, closed circles don't seem to shrink much. I formed a ring at size 9-1 / 2 . After firing the ring stili measured 9-1 / 2 . Another ring shrank from an 8 to a 7-1 / 2 . The same thing happened vvith 2 cuff bracelets vvhich did not shrink in overall vvidth, but substantially in length and thickness. Other items shrank from 16% to 20% in various dimensions. İn general, thinner pieces shrink more in length and vvidth than thick pieces.

VVhere an item is loca ted in the firing Container can have an im pact on the total shrinkage o f the item. İtems located near heating elements shrink more than those in other parts because they ge t hotter sooner than those in the center o f the Container. A ctiva ted carbon is a po o r conducto r o f heat, so p ieces in the inside o f the Container vvill reach tem perature abou t 3 0 minutes later than those near the outside edges.

Refiring BRONZcIayBRONZcIay can be re-fired. I have fired some pieces several times by accident because I lost them in the carbon and found them only vvhen I sifted the carbon to clean out the dust. O nce an item has been fired, additional firings do not harm the metal.

Attaching Fired BRONZcIayIf you have fired pieces that you'd like to combine, they can be pasted together and fired. First clean the items to be attached very vvell. G ive them a rough satin finish in the areas to be attached. M ake lavender paste to "glue" the sintered bronze pieces together. M ake a very thick paste, but instead of mixing it vvith lavender vvater use straight

M ix the paste to the consistency of soft peanut butter (a tiny bit softer than normal paste). Use a dropper as a d ipper to pick up the oil a drop at at time. I have cocktail stravvs I cut short to form bails vvhich vvork great as pipettes for picking up a drop of oil or vvater. A dd a drop at a time to the clay and mix vvith a palette knife. Attach parts vvith the paste and dry at 90F for 2 4 hours. Fire at the 3-Hour Schedule. If you add unfired components to pre-fire bronze, scratch brush the bronze and attach the component vvith lavender oil paste. Allovv to dry at 90F for 24 hours. Use the firing schedule for the unfired components thickness.

TİP

W e ship our Lavender Essential O il vvith a plastic cap and include a glass and rubber dropper. Keep the origina cap and reserve the dropper for use as needed. Do not store the dropper on the bottle. The lavender oil is very strong and vvill break dovvn the rubber over time, ruining the dropper

Kiln MaintenanceVVhether you have a brick or muffle kiln, be prepared to step up maintenance vvhen you fire BRONZcIay. Oxides vvill build up on the outside of your firing pan. These oxides vvill flake o ff and accumulate at the bottom of the kiln. Vacuum the inside of your kiln regularly to keep it clean. VVipe the thermocouple vvith a dam p rag or sponge vvhenever you vacuum to keep your kiln in top shape. A thermocouple vvill not read as accurately as it ages (an older thermocouple vvill fire hotter than it reads), so test fire your kiln every 75 firings using cones to verify the accuracy of the firings.

Sign up for our mailing list if you'd like us to keep you posted on the latest information on vvorking vvith BRONZcIay. W e send email only vvhen there is something really pertinent to your interests, so you can safely subscribe. Be sure to read the other articles on BRONZcIay.

1. Find Your Target TemperatureFind your kiln model from the chart below. Check the electrical data plate on your kiln and match it to your model C ircle your target temperature. This is the target temperature you vvill alvvays use to fire BRONZcIay in your kiln. C ircle the hold time needed for your firing pan size. (İt's okay to use a 2 hour hold time on all firings).

Target Temperature & Hold ChartTarget Hold Time

Kiln Model W attage Temperature Short Pan Tali Pan

E9AX 1100 1550F 0 2 hrs

Firefly 1680 1490F 0 2 hrs

C aldera 1680 1490F 0 2 hrs

SC2 1440 1550F 0 2 hrs

SC2 1680 1490F 0 2 hrs

E360 1500 1550F 0 2 hrs

E450 1800 1490F 2 hrs 2 hrs

SC3 1680 1550F 2 hrs 2 hrs

SC3 2000 1490F 2 hrs 2 hrs

Xpress E14A 3120 1490F 2 hrs 2 hrs

Home Artist 1800 1490F 2 hrs 2 hrs

2. Measure Your ClayMeasure the thickest place on your BRONZcIay using a millimeter gauge, rounding up to the next vvhole number. Find the rate of heating that corresponds to your thickness and target temperature.

Heating Rate for a Given BRONZCIay Thickness

Target

Thickness in Millimeters

Heating Rate in Degrees Fahrenheit (per ıour)

Temperature ■on »ita El 16

1490F Full Speed to mm 93

1550FTarget Temp

387 310 258 221 193 172 155 140 129 119 110 103 96

3. Program Your KilnProgram your kiln to heat at the rate found in the chart above for your thickness. Set the target temperature to your kilns target temperature. Set the hold time.

4. Load the Firing PanBury your pieces in the activated carbon. Load into the kiln. Start the program.

5. After FiringThe kiln can be left to cool to room temperature or the pan can be removed hot. To remove the hot pan, crash cool the kiln to 1 000F, then remove the firing pan to a trivet and remove the lid. Allovv the Container to sit at least 30 minutes. Sift out the treasures using a sifting spoon. Finish as desired.

Table Top Kilns for Jewelry Artists Detailed Model Comparison COOL TOOLSSpecia ty & Economy Firing Ceramic Fiber Insulation Fire Brick Insulation

MicrowaveKiln

UltraliteBeehive

Kiln

Amaco Trinkit Kiln

ParagonSCI

ParagonSC2

Evenheat Kingpin 88

ParagonSC3

ParagonHomeArtist

ParagonFirefly*

Evenheat Studio Pro STP

ParagonC aldera*

ParagonE9A

Xpress

ParagonMulti

Media

OIympicJewelry

Artist

Maximum Temperature 1650F 1560F 1600F 2000F 2000F 2000F 2000F 2000F 2350F 1800F 2350F 2000F 2250F 2350F

Control Type manual manual manual digital digital digital digital digital man/dig digital m an/dig digital digital digital

Door Type front front front front hinge lid hinge lid dual loose lid front front hinge body

İnterior VVidth 4.5 in dia 3 .5 in dia 5 in dia 6 in 5 .75 in 6 in 7 .75 in 12 in dia 7 .75 in 8 in 8 in 8.5 in 8.5 in 8 in

Height 3 in 8 in 8 in 7 .75 in 12 in 4.5 in 4 .5 in 6 .75 in 4 .5 in 6 in 6.5 in

Depth 4 in 7 .75 in 8 in 7 .75 in 12 in dia 8 in 8 in 8 in 9 in 12 in 8 in

Maximum Shelves 1 2 2 3 4-5 1 2 \ 2 3

Exterior VVidth 11 in 13.24 in 13.5 in 13.3 in 16 in 15 in 13 in 13 in 14 in 14 in 13 in

Height 12.25 in 15.5 in 15.75 in 17in 18.7 in 12 in 9 .5 in 11.8 in 16.25 in 17in 17in

Depth 10 in 14 in 14.5 in 14 in 23 in 18.5 in 15.5 in 19.5 in 18 in 22 .5 in 19 in

W indow Option no yes yes yes no yes yes yes no yes no

Bead Door Option no yes yes yes no no no yes no no no

W indow/Bead Option no yes yes yes no no no yes no no no

Portable yes yes yes yes yes yes yes yes caution caution caution caution caution caution

Element Location floor floor 3 sides 3 sides 3 sides 3 sides body body body body 3 sides 3 sides body/lid

VVattage 1000 9 0 0 6 0 0 1680 1440 1800 1800 1680 1440 1800 1100 1800 1800

Voltage 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV 11 OV

Available for Europe no no yes yes yes yes yes yes yes yes yes yes yes

Weight (in pounds) 4.5 3 8 15 36 4 0 41 4 7 45 32 4 6 55 7 0 60

Accessories Included none none spatula shelf shelf none shelf none none furn kit none none none none

Supplies Cost $4

Furniture Kit Cost (min) $21 $3 $ 7 $ 7 $14 $ 7 $63 $14 $14 $14 $14 $14

Hourly Cost to Operate $0.15 $0.15 $0.15 $ 0 .0 6 $0.15 $0.10 $0.17 $0.20 $0.15 $0.10 $0.16 $0.10 $0.20 $0.15

Kiln Cost $100 $ 20 0 $ 20 0 $ 57 0 $ 57 0 $ 6 0 7 $670 $888 $340/$505 $ 57 0 $555 $605 $749 $749

Supplies are consumables that are necessary for firing and must be replenished. Furniture Kit Cost is the cost

Studio Kiln Facts to Help You Make Your Decision* Brick kilns take longer to heat than fiber kilns, so firing in a brick kiln takes longer* Brick kilns cool slowly, so they are perfeet for glass annealing.* Brick kilns have exposed heating elements and can be replaced by the user.* The higher the wattage, the faster the kiln heats up.* Manual kilns require that the entire firing is closely monitored. Cannot be left unattended.* Carbon firings (for bronze and copper elays) are more even when surrounded by heating elements on 4 »d* Ceramic Fiber kilns heat faster than brick kilns.

© 2011 Cool Tools All Right Reserved | www.cooltools.us | Cali us for help in choosing a kiln: 8 88 .4 7 8 .50<

the minimum suggested firing tools for this unit. Price given is for least expensive kiln shelf and 1" kiln posts.

* Ceramic Fiber kilns cool more quickly than brick kilns.* Ceramic Fiber kilns have elements in the muffle which is replaced when elements burn out.* The larger the interior, the longer it takes to heat.* Digital kilns allow programs to fire unattended.* Glass fusing is best done with heat from overhead.

ss. • All heating elements have a lifespan and how long they last depends on use.

O | Full details, kits and firing information available on our website.

Table Top Kilns for Jewelry Artists Firing Capabilities Comparison COOL TOOLSSpecia ty & Economy Firing Ceramic Fiber Insulation Fire Brick Insulation

M icrow aveKiln

U ltra liteBeehive

Kiln

Am aco Trinkit Kiln

ParagonSCI

ParagonSC2

Evenheat K ingpin 88

ParagonSC3

ParagonHomeA rtis t

ParagonF ire fly*

Evenheat Studio

Pro STP

ParagonC a lde ra *

ParagonE9A

Xpress

ParagonMulti

M edia

O lym picJew elry

A rtis t

Bisque Firing ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Bronze C lay ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

China Painting ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Copper C lay ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Enamel on C opper Sheet ✓ ✓ ✓ ✓ ✓ ✓ * * ✓ ✓ ✓ ✓ ✓ ✓

Enamel on Silver C lay ✓ ✓ ✓ ✓ ✓ ✓ * * ✓ ✓ ✓ ✓ ✓ ✓

Fine Silver C lay ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Glass Bead Annealing ✓ ✓ ✓ ✓

Glass Bracelets ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Glass Cabochons ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Glass C lay ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Glass Plates ✓

Glass Tiles 4 " or smaller ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

G old C lay ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Granulation -S ilver or Gold ✓ ✓

Heat Treating ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Keum Boo ✓ ✓

Lost W a x Burnout ✓ ✓ ✓

Luster G lazes ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Metal Annealing ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

O verg laze Enamels ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

PMC Pro Silver A lloy C lay ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓

Porcelain Firing ✓ ✓ ✓ ✓

Stoneware Firing ✓ ✓ ✓ ✓

Maximum Temperature 1650F 1560F 1600F 2 00 0 F 2 00 0 F 2 00 0 F 2 00 0 F 2 00 0 F 2 35 0 F 1800F 2 35 0 F 2 00 0 F 2 25 0 F 2 35 0 F

Door Type front front front front hinge lid hinge lid dual loose lid front front hinged

W eight (in pounds) 4.5 3 8 15 36 4 0 41 4 7 45 32 4 6 55 70 60

Accessories included none none spatula shelf shelf none shelf none none furn kit none none none none

Minimum Budget $100 $ 2 0 0 $ 2 0 0 $570 $570 $ 6 0 7 $670 $ 88 8 $350/$505 $ 57 0 $ 55 5 $ 60 5 $749 $749

Hourly Cost to Operate $0.15 $0.15 $0.15 $ 0 .0 6 $0.15 $0.10 $0.17 $ 0 .2 0 $0.15 $0.10 $0.16 $0.10 $ 0 .2 0 $0.15

*Available with infinity control knob (manual) or digital controller (digital). Minimum Budget listed manual/digital. * *The Home Artist is 12 inches deep.

© 2011 Cool Tools Ali Right Reserved | www.cooltools.us | Cali us for help in choosing a kiln: 8 8 8 .4 7 8 .5 0 6 0 | Full details, kits and firing information available on our website.

F3 s?COOL TOOLSUsing ClayMate Anti-Stick Hand Conditioner

Used properly, ClayMate will keep your hands clay free.

CLAYMATENon-Stick Hand Conditioner

All Natural Fragrance Free

Ccnıains Vitamin E

WWW.COOİtOOİ5.U3

1. ApplyC layM ate looks like ord inary hand cream, but it's quite different, and it must be applied properly to do it's job. First wash and dry your hands then place a small dab in the palm of one hand. You need just enough to put a thin film of the product over your hands and fingers.

On a r " » 'F h D a m fir IhOKmr ıoro*wu, »fngercfepsrtfyirırlrija * ■]Dond us

Ctaıt î̂sS»' 20!

2. W ork İnto HandsDistribute C layM ate evenly over your palms by rubbing them together as if you are vvarming your hands, just to get it spread out.

3. Coat FingersC oat each finger individually and completely. Close your hand around each finger and pull through the C layM ate on your palm.

4. Special Attention to FingertipsAfter each finger is done, rub the tips of your fingers in the palm of your hand, including thumbs to be sure every bit o f skin has been covered. The tips of your fingers, especially the thumb, index finger and m iddle fingers tend to touch the clay more than any others so pay particular attention to the fingertips and get them coated.

O nce you have coated your hands, vvait 1 minute as C layM ate conditions your skin. Reapply as needed.

Tips

If your hands are very rough or tend to be on the dry side, app ly C layM ate a couple of times before handling clay. Put some on in the morning, then after lunch and again before you begin vvorking.

You never need to use a lot. That just vvastes it. Just put on enough to coat your hands and fingers.

COOL TOOLS

This gorgeous necklace is so easy to make!

Ours was made w ith a genuine 1 / 3 carat diam ond that was fired in place w ith no dam age to the stone. W e used PMC PRO fo r our necklace, but you can use any metal clay you like. If you w ant to use a genuine diamond, be sure to loupe it first to be sure it is free from bubble inclusions.

ToolboxAntique M o ld Mushroom Cap A N T-255

PMC PRO C lay PM C -604 Diamond Tweezers TW Z-201 Copper Drying Form Round Medium FRM -252

im m Round CZ, Lab or Natural Stone

No-Flake Firing Kit for PMC PRO KIT-300

Mini-Fiber W heel Coarse POL- 751

3 M Polishing Papers Set POL- 100

Mold the Clay1 . M ake a patty from fresh clay and place into the mold. Using your thumbs vvith a rolling motion,

press the clay firmly into the mold and outvvard to distribute it evenly in the mold.

2 . Remove the clay from the mold carefully

3 . Place the molded clay on a drying form. Gently form the clay over the mold, pressing dovvn the edges to conform to the mold. A C opper Drying Form is used here.

4 . VVhile the clay is stili moist, pick up your stone vvith Diamond Tvveezers. Place it in the center of the molded clay. VVe've used a 1 /3 carat d iam ond, but you can use any stone you like that is 4 or 5mm in diameter.

COOL TOOLS5. Using the Diamond Tvveezers, press the stone dovvn into the clay so the girdle is belovv the clay

surface. Then allow the clay to dry on the form.

C ultıGrey area represents clay. Stone must be set so the girdle is belovv the clay level. This allows the stone to shrink-lock into place.

6 . VVhen the clay is completely d ry add a bail or drill a hole for the bail. For our sample, a clay tube was cut in half and pasted onto the back and a llow ed to dry completely. Next the seams were filled, sanded, and again a llow ed to dry completely.

7 . Bury the piece in activated carbon inside of a stainless steel firing box, or to avoid the kiln mess, use a box made from No-Flake Firing Foil. There should be at least Yi" of carbon over the top and be low the item. Program the kiln to fire at full ramp to 1425F and hold for 1 hour. VVhen the program is complete, vent the door by opening it about an inch. VVhen the red g low has gone from the box, remove it using tongs and place on a trivet to cool.

8 . After firing, antique the necklace using Patina Gel, then neutralize and dry.

9 . Use a Coarse M ini-Fiber VVheel or Coarse Scotchbrite Pad to remove the oxidation from the back and front of the necklace. The mini-fiber wheel vvill remove oxidation only in the high spots and vvill also leave a satin finish.

lO .U s e a 3 M Polishing Paper in 4 0 0 grit on the front of the necklace to give a softer matte finish. The back can be polished vvith a 3 M Bristle Disc starting vvith 2 2 0 grit and progressing to the finer grits to desired polish. Buff the back vvith a polishing cloth as a final step.

Polishing PMC PRO offers many options. You can use hand polishing or motorized polishing tools to achieve any finish you like.

A Precioub Meıal Clay necklace

inspired by a Luna edip.se

rtreasure chest

Materials needed: • Cling film - Paintbmsh• Craft knife or tissue blade • Measuring spoons

• 50g Silver clay • 1.5mm spacer bars • Silver wıre• Syringe • Texture mat • Bar dasp• Badger balm or olive oil * Sandinq papers • Small silver beads• Roller • Wire brush • Cirde cutters• VVater • Small file

Spread a little olive oll on the work surface. Roll our the silver clay betvveen textuı'e mats to a thickness of i 5mm using spacer bars. bse cirde cutters to cut out the clay into links ana cırde shapes.

I purposefully slightly misshape the linki Make ten idrge ana tvvo small links Allovv ıhe llnks to dry tnoroughly. Sit the full cırdes nnto the oome ol a measuring spoon. Gently ease the cird» over the dome shape; then allow them to ary. Repeat until you have ten halves

TV aney S p ıiT g inTracey is a nualified Art

Clay bıiveı Instructor and membpr ol the

Siıver Art Clay Guild, Her vasi teacnmg

experıence means she can offer workshops.

demonstrations, parlies o> presentations foı ali occasıons. For fu ıther Information vısir the

vvebsıte <vww,craftwoıx.co.uk

TipTo enhance the deep texture, the beads and links vvere immersed in a solution of liver of sulphur to oxidise. See page 72 for how to work vvith Liver of Sulphur

Project kits available on request. For further details on ali workshops contact: CraftworxEmail: tracey@craftworx. co.ukWebsite: www,craftworx. co.ukTel: 07961 883115

Once the domed cirdes are fully dry, Dİace them flat onto the sandpaper Use a circular motıon to level the pages This vvill allovv the tvvo halves of the dome to sit flush together.

Use a fine file to make holes İn the sides for strıngıng.

Use a small amount ot syringe or paste to seal ine tvvo halves together. Allow to dry.

Fire ali the lınıcs and lentil beaas. Ouench in vvater and polish Use silver vvire and a few sterling silver beads to vvıre together to complete rhe necklace

w w w .beadsaudbeyondm agazine .com NOVEMBER 2008 11

treasure ehest

Materials needed: * Clin9,ilm * Paintbmsh• Craft knife or tissue blade • Measunng spoons

• 50g-Silver clay • 1.5mm spacer bars • Silver wire• Syringe ■ Texturemat • Bar clasp• Badger balm or olive oil ■ Sanding papers • Small silver beads• Roller • W ire brush • Circle cutters• VVater • Small file

Spread a little olive oil on the w ork surface. Roll out the silver clay between texture mats to a thickness o f l.5m m using spacer bars. Use circle cutters to cut out the clay into links and circle shapes.

O

Once the domed circles are fully dry, place them fla t onto the sandpaper. Use a circular motıon to level the edges. This vvill a llow the tw o halves of the dome to sit flush together.

I purposefully slightly misshape the links. Make ten large and tw o small links. A llow the links to dry thoroughly. Sit the full circles onto the dome of a measuring spoon. Gently ease the circle over the dome shape; then a low them to dry. Repeat until you have ten halves.

Use a small am ount of syringe or paste to seal the two halves together. A llow to dry.

Use a fine file to make holes in the sides for stringing. Fire all the links and lentil beads. Quench in water andpolish. Use silver wire and a few sterling silver beads to wire together to complete the necklace.

Silver Art Clay Guild.Her vast teaching

experience means she can offer vvorkshops,

demonstrations, parties er presentations for all occasions. For further information visit tne

website www.craftworx.co.uk

TipTo enhance the deep texture, the beads and links were immersed in a solution o f liver of sulphur to oxidise. See page 72 for how to w ork vvith Liver o f Sulphur

Project kits available on request. fo r further details on all vvorkshops contact: CraftworxEmail: tracey@craftworx. co.ukVVebsite: ww w.craftworx. co.ukTel: 07961 883115

■ fr a c e y S p u r g i n

Tracey is a qualified Art Clay Silver instructor and member of the

w w w .beadsandbeyondm agazine .com NOVEMBER 2008 1 1

mâfce this pendant. The coin

impression is a mirror image of

the.original, t e t the p-attern

and İm age is stil! appeşling ' ’

• Cling film • Leather thong, toggle and bar dasp• 20g Siiver Art Clay • Craft knife or tissue blade • Öven* Syringe type • Sanding papers or grits • Gas hob and metal grid• Badger balm or olive oil • Wire brush • Liver o f sulphur (optional)• Coin • Small file • Silver polish and doth• VVater • Paintbrush

Rub a drop of olive oi! or badger balm onto your work surface. Prepare the day then roll out using your 1,5mm spacer bars. Press in a coin. Use a craft knife to cut out around the edge o f your co in.

To make the bail, roll out some day using the 1,5mm spacer bars. Cut a diagonal line and rol! the clay onto a straw. Cut a corresponding diagonal line and use paste or syringe to join the seam together. Roll out a small amount of clay into a small sausage.

Before the bail has had time to dry fully, remove the stravv. This diagonal cut vvill allovv you to shape the bail into a curve more easily. Dry ali three pieces in the öven at 130°C for 20min,

Once dry, the three pieces vvill need to be fiiled, filed and sanded to refine the ir shape and finish.

TipRemember for selling your silver, anything over 7.78g vvill need to be hall- marked. Further details are available from your local Assay Office.

O

Use the syringe to put a small amount of clay to join the three pieces together. Allovv to dry before turning over and adding more syringe to secure the back.

Once again dry thoroughly, file and refine before firing. Fire the piece on the gas hob fo r 6min on fu ll heat over a metal grid. Ouench in vvater. Polish vvith a wire brush. Oxidise vvith Liver o f Sulphur. Finish vvith a little silver polish and doth.

Project kits available on request. For further details on ali vvorkshops contact Craftworx Emaii:tracey@craftworx.co.ukVVebsite:www.craftworx.co.uk Tel: 07961 883115

Tracey delivers a full programme of silver day

vvorkshops, in a variety of venues. From the North West to the Yorkshire regions Tracey prides

herself on running high quality courses in a

re!axing atmosphere, learners are inspired and

gam knowledge and confidence in vvorking

vvith silver and Bronzday™ .

If you are interested in finding a dass near

you vvith qualified tutors, log onto

www.artdayworid.org.uk

W 'W T C .tıeadsandbeyondn ıag -az iri{;,(:nm MARCH 2009 t »i

EXPE R IEN C E

Creations in clayDEBBIE HALL joins a jewellery workshop in the heart of the East Riding countryside and is amazed at what she creates in a day from metal clay . . .

couldn’t believe it when Tracey Spurgin showed us what she expected us to create by the end of her craft tutorial - three gorgeous silver pendants, all incredibly intricate and very professional-

looking.Some of the class number appeared

slightly more convinced (they had been here before) but for a couple of us complete novices, it was a “you’ve got to be kidding” kind of moment.

Undeterred, as Tracey seemed to have put her faith in us all, even the raw newcomers, we set about learning about the properties of Precious Metal Clay - PMC - and Art Clay Silver, and what kind of exquisite designs can be moulded, daubed or sculpted with these amazing media.

There were plenty of fabulous examples around us, all made by Tracey, to inspire us, and lots of tools and equipment stashed in baskets, on shelves and on worktops to boggle our uninitiated minds.

Tracey, whose Craftworx studio - part of Calf House Studios - is located on the working Cold Harbour Farm, just outside Bishop Burton, launched our beginners’ introduction to silver clay by explaining about this relatively new craft material.

“It was invented in the mid-1990s when a Japanese professor had this Eureka moment,” said Tracey, who is a senior art clay and PMC instructor and has been teaching professionally for 12 years.

“He was already recovering metals from industry - things like medical supplies, X-ray film, teeth fillings and component parts for computers - and it was usual for it to go back into those industries”

The oriental academic, interested in finding a new application for recovered silver, developed a prototype with the help of a top US metalsmith.

And so, in 1996, metal clay was born. Basically it is made from pure silver powder mixed with an organic binder - “like corn starch”, said Tracey - and water.

We got to use it in its lump, paste and syringe form.

M agically, it seems, the binders burn aw ay and you end up with 99 .9 per cent pure fine silver

Debbie Hall’s finished pieces

22 The Journal

Debbie Hall, right, with tutor Tracey Spurgin at a silver clay workshop Pictures: Rob Stebbing

After an introduction to our tools - we each had a basket containing a snake roller, a tissue blade, spacer bars and a burnishing tool, among many others - we were shown how to quickly massage lump clay into a soft putty-type state and how to always cover the clay with cling wrap if deliberating even for a few moments, as it dries out so quickly.

Stamps and textures can be applied at this stage. We used mini cutters and “non-greedy” textures, treated with Badger Balm as a release agent, to create a patterned and a plain piece of clay - both were applied to a finely rolled backing piece of clay.

When the clay has been shaped into its desired form, it is then dried, naturally, with a hairdryer, or in a dehydrator (and is in a fragile, almost biscuit-like state); it can be carefully refined and polished with wet and dry papers.

At this stage, we were tasked with the (tricky) creation of a slender bail for the back of the pendant - the loop that the chain is threaded through.

Dehydrated again, our pieces were finally fired, at 800 degrees, for 15 minutes.

Magically, it seems, after carefully placing your little grey “biscuits” in the kiln, the binders burn away and you end up with 99.9 per cent pure fine silver.

If you don’t have your own kiln, Tracey demonstrated how you can replicate firing with a kitchen blowtorch or on a gas hob.

There was smoke and flames, all exciting stuff, then the hot metal was dunked in cold water. Hey presto, a piece of silver jewellery.

Something I learned on the day is that all silver is white, until it is polished.

We set to work with a wire brush, and polishing papers in various grades to help bring a fabulous sheen to our designs, followed by a rubbing of metal polish cream.

One part of the course called for a mini field excursion on to the farm to find a leaf for a paste clay project. I knew the “right” kind of leaf needed to have a very veiny, not hairy, underside, as this is the surface that becomes the front of a leaf pendant.

I came back into the workshop pleased with the variety of foliage I’d picked but I’d not heard one of the instructions about what size of leaf to pluck.

“It’s supposed to be the size of a 10p piece, not a £10 note,” I was told, but very jovially. Fortunately a little sage leaf I’d chosen proved perfect for the job.

During the afternoon session we were introduced to the syringe method of applying clay to a cork clay base, temporarily mounted on a cocktail stick. The cork centre burns off in the kiln and leaves a lovely hollow “squiggly” silver form.

I thought the course was fabulous, and the other ladies were as delighted as I was with their creations.■ Craftworx Studio is at Cold Harbour Farm, Bishop Burton HU17 8QA. Call 07961 883115, e-mail tracey@craftworx.co.uk or visit www.craftworx.co.uk

FACTFILETracey with some

of her work

Tracey Spurgin’s workshops and courses range from the basic introduction to silver clay to intermediate and advanced subjects, right up to professional standard.

Tracey also travels around the UK to deliver courses and workshops in galleries, shops, colleges and museums. She also writes for national magazines on the subject of metal clay.

This month Tracey is leading a metal clay jewellery summer school, with beginner and intermediate courses - four weeks, four courses. Cost £495 per week.■ Beginners’ Week - 30th July to 3rd August. All the basic foundation skills with step-by-step projects to build confidence.■ The Chemistry of Colour on Metal Clay - 6th to 10th August. Bring life and vibrancy to your metal clay with colour, learn about the options and techniques.■ Mixed Metals - 13th to 17th August. Explore the combinations available, learn how to incorporate copper, bronze and silver into single pieces.■ Mixed Media - 20th to 24th August. The versatility of metal clay allows for the incorporation of glass, ceramics and other materials into single pieces of jewellery.

For more information, visit www.craft worx.co.uk

KILN FIRING COSTS

As business owners and artists, we need to know the cost of providing our products and services to make sure we price our products properly. One cost contemporary studio owners and artists need to know is the costs of firing their kiln. This article will give you the information needed to calculate the costs of firing a kiln. The information provided is for kilns that are about 10 cubic feet or about 28” diameter and 27” to 29” deep. The tests were conducted using digital kilns with about 100 pounds of ware.

To calculate the costs per firing we need to understand the formula behind the calculation. The formula is:

(cost per kilowatt hour charged by electric company) x (kilowatt hour rating on kiln) x (the number of hours the kiln takes to complete a firing) x (the duty cycle of the kiln)

The electric company charges for power in kilowatt hours. Electric costs range from $.07 to $.18 per kilowatt hour depending upon your location. The cost can be found on the bill from the power company.

The kilowatt rating of the kiln is located on the electrical data plate of the control box on the kiln. The data plate has the volts, phase, amps and watts. Most of the kilns that are around 10 cubic feet have 9,600 to 11,500 watts, but check the watts on particular kiln you use. For our purposes, the kiln tested is rated at 10,800 watts. 10,800 watts is the equivalent of 10.8 kilowatts.

The number of hours the kiln fires is shown on the digital controllers at the end of the firing. The average firing time for a Cone 06 medium speed is around 8 hours.

The duty cycle for the kiln is the amount of time the elements are actually having electricity going through them. Electricity is only going through the elements when the relays are on, this is the clicking or humming sound heard when the kiln is operating. The kiln is only using electricity when the relays are on. The general duty cycle for the kilns used in contemporary studios is 50%. Meaning, during the eight hour firing time, the relays are only “ON” for about four of the eight hour firing time.

Putting this information together and the formula looks like this:

$.08/KwHr x 10.8 Kw x 8 hours x .5 = $3.45.

Therefore the cost of firing a 10 cubic foot kiln to cone 06 medium speed is about $3.50 when the cost per kilowatt hour is $.07. I have put in a table below to see the cost of firing the kiln at different costs per kilowatt hour.

FIRING COSTS FOR A 10.8 KILOWATT KILN, CONE 06 MEDIUM SPEED

COST PER KW HOUR$2.59 $3.02 $3.89 $4.75 $5.62 $6.48 $7.34 $8.21

The costs are generally less than most people expect. There is no change to the cost per firing if the kiln uses three phase power, the kilowatt hours remain the same. Firing to Cone 04 or adding more ware when loading the kiln has only a marginal impact on the cost of firing.

Written by John S. Hohenshelt, President Paragon Industries L.P.

Copyright © 2009, Paragon Industries, L.P.Paragon Industries, L.P., 2011 South Town East Blvd., Mesquite, Texas 75149-1122 1-800-876-4328

www.paragonweb.com

$0.06 $0.07 $0.09 $0.11 $0.13 $0.15 $0.17 $0.19

PROFİLE

RİGHT: İnto ıhe kiln Jew etlery d e s ıg n e r T racey Spurgin lo a d s ano lh eı p ie c e of silver c la y for firing

PlCti.lHES SIMONKEMCH

VVİLL RAMSEY meets a member of the Silver Art Clay Guild and a qualified instructor in the craft to find out all about her unusual creations

'Magic' that turns clay into silver

n a rcd brick farın bıu lc liııg , set iıı th e g e n t ly r is in g fa rm h m d a b o v c B is h o p B u rto n , a v e r y m o d e m fo m ı o f a l c h c m y ta k e s p la ce , A n d a lıh o u g h it’s far r e m o v e d from tlıc p o lio n a o f ın e d ie v a l s c h o lâ f s , ıt

d o c sr ı’t inecin i t ’s a n y le s s n iflg ic .

Here, in u w ell-iiı vvorkshop, jett-eller Tracey Spurgin takos puıty-colouı'cd art clay silver a by-pfod\ıc( o f ıhı: film and printing indııstries - and eruates întricnte jevvellcry,

"İt's alm ost like a J c lıe tn y s a id Tracey. as she busıes h erse lf vvith her laiust set o f creadons a series o f tinely-shaped rings.

“Takj'îig a piece o f c lay and crcuting a piece o f silver jevviçllery out o f il nearly d e fk s heliof" İl's such an escituiM ıhıng te» vvork vvith"

[vaccy, w iıo is o ıig ina lly Jıorrı L iveıpoo l. has vvorked in firt and design sin ce her ctıilege days.

T taincd in fashion design and textiles - she is also a skilled dressm aker her introduclion to art clay silver cam e by chanee.

had been al a craft tair, vviıen I cam e ucross som e polym er clay reddy bears,” she yai d,

"İt vvas a material l had vvorked in before, som e 20 years p ıev iou sly , nnd w a s mrereşied in csp loring again. Hut as 1 wns look ing yıı the Internet I savv m cntıon o f silver el^y nnd vva.s eaptivaled by the idca."

M etal d a y , a sofi nnd ım prcposücssing lump in iıs raw form, vvas develdpod in .Tapan during İlse early 19005 using Ibfl precious

m elals. suclı as silver, İÇÖ over irorn the cfealioıı o f cı.nerrmlic film or the pritıttng process.

T he clay contains linv particles o f silver or ı;old, m ixcd together vvith an organic binder 11>al lııım.s u f f w hen fııed.

“ \VJth it bcing such a squidgy product, you can roll ıt om inio a sheet as yon vvould pasiry.” said Tracey, as she ptıts the final touclıes to a deüeately-bcaded ring.

“ lı can bc rolled oıı to a mandrel to m ake a ring, or shapcd intopeniLınts."

O nce the material is dricd in its pli;-firing form il is as delicate as plaster ext!'a desig ııs can be added. For the s\\ iris and beading fentuıvd on dıe latesl sel o f rings. J'raccy had tised a syringe in m nelı the

Hniga and bl n g s 1 racay c4lsp a y s sa m e o! hûf rings nifldB from sılvor clay abovc?, a ss la c tıo n of hıvf pr&tly p n n d a n ts

sam e vvay a pip ıng bag is used ou a vvedding cake.

The dcsia ııs art then fired. either vvith a blow torch or in an öven, vvhieh reveals the silver H5 the binder buıns uvvay.

G iven Ihe m allcability o f the clay. the creations ura limiteti only by the im agm ûlion o f the jevveller, And in ’l raccy's case that's soınetlıiııg hardly in shon supply.

in the g lass eabincts al her stlıdıo are rı cb /^ lin g m ıx o f diiibrcnt design# star-shapcd pcınlants, leîıves. hearts, even a Sky&cvaper ring, featuı'itıy llıree tovvefli inspired by a ıvecnt tı ip to C hicago for an intemsıtİDDül cotdcrçııce for art clay ıc-wcJlcrs.

S lıe 's m odest en.oııyh to say ıhat much o f dıe appeal for sıudents Tracey also n ıııs a senen o f w orksbops at the Sttıdio and aeross Britain is the siınp licity o fsh a p in g tlıe clay.

Bul the de ■'ite uı puslı alıead vvith har ovvıı sk llls 'ıhe’s eyırently lııkiııg Ihe M asler’sR cgistıy , a JU.TİCS o f 50 c lıa llcnging ptojccta set out by a group o f Am erican BÜversmilhs and artists - m eann that the vvork on shovv is gflöilıg ever m ore eom plex.

Tlıe hcart-slttped pendunts, for exam ple, appettr (O be m ade from a w cb o f silver. Created by TrflOCy pip iııg thin sirips o f art clay silver over a solid p iece o f lıcan-shapod cork clay vvhieh bum s into Dodıiny in ıhe kiln tlıe finished <leşign ıs a delicate laitiee o f silver vvork.

” 1 enjoy the experiınentiil side o f th ingi,” said Tracey.

’1 h ave been vvorking on hıngcs. so I can create small silver boxes tlıe issue is (har they fire so liddly. W illı sterling silver. there are other eleıııents, such as copper, vvhieh g iv es it stneııgdı,

“\Vitlı tlıe c lay . it ıs per çent p ıırcsilver, so it's m ore btfttlc the chailange ıs lıovv to g iv e it thickness and deptlı."

A İongsiüe tlıe coınplcx picees o f j^ vellery are llıosc vvhieh are siınpJer in siyle.

Tracey esıim atcs a plain ring vvill !;ıke aroıind an hour lo ıııakc, vvith ıhe more eınbcllishcd dftsigns som e o f vvlııch are inset vvith colourcd glass “ lum p^ork beads” LTçoied by tlıe Scarborûuglı-bDsed an isi Em mu Green ■ lakıtıg Ibur hours or more.

l,l do l o » all ıraek o f îitfie,'’ Traceyııdnlıts.

"You get into yoiır ow n lıead spacc w ıih Ihe vvork, tlıen lûok at the elock and ilıınk ‘f should eaı som eıh in ı:1 or 1 should gel lıom e and m ake diııncr' "

I !om c. vvhieh she shai'es w ıth her husband nnd ivvo sotlş, is only a short dıive a w ay in W alkingtorı

i t’s easy lo see ıhe L'ıppeal o f this studio, hovvever. to an artist vvlıo needs lo tbcus so intently on her woık.

As vve talk, lhc oııly sound i>. tlıe bubbling o f tlıe tum bier fdled vviılı vvater and steel shot vvlıieh is ıs s in g aw ay the final renınauts o f clay from lıcr latest design.

“‘İt’s a lovclv sırtljnjı,” she said.

You get into your own head space vvith the work, then look at the clock and think 'I should eat something' or 'İ should get home and make dinner'

"Thfe only sofinrl yuu’ll ge l is the occusiontıl rumblc o f a lractor goiny, pasl.”

T ra c e y s s tu d io , a P orm er covvshed, is onc o f a serie ;. in the g ro u n d s o f a w o rk in g fo rm .

W lıaı vvere once the agricııltural Gulbııilclingp for (hu I ord o f ılıe M anor o f Bisfıop Bııtton, Rtchard Wa(t, are now C a lf H ouse S uhİ İos vvhere seıılptors and painters ODW ply their trade.

Crcated by Heathcr Hayvvard and hor tiıllıer John Durtning. w ho run (he ndjoining C'old Harbour Farm., the red-brick V ictoıian buildings are a neighb oıııly netw ork o f siudios.

N ext door, aıtist Grabanı Cbam bers w ho sp ecia lises in rura.1 scen es is busy finishing a ponr.ıi! for a clienl in Germ any.

” 1 fnıd il an incredibly inspirational place.” he .saki.

“ I üıink back to how il must have been in 1SS4, and I can see hov, ît must have looked with the ali the steam eııg ines and ıhreshing m aehines at work."

[t's back to the alehcrny a^ ıitı c lay iııto silver. farın shcdş into stıntios A s ştrange as il might sonnd, it works.

■ For m ore inform ation, visit: w w w .ealthou sestud ios.co .u k and ww w .cralK vorx.co.uk

O

C lo c k w îs a ffo m b o lo w . T ra c e y o u ta id o C a lt H o iıs e S tu d io s ; s o rn e c lo & e -u p w o rk o n a p ie c e ; T ra c e y In vo lvs tJ in a rto th ra f |r iw e l|n ry m a k in g p ro c e S fi: a s t r ls c lıo n cif h e r w o ık

Hrow to

Y o u w ill need :

• PMC 3 I6g• Daisy C u tte r• Plastic measuring spoon:

I tablespoon/15ml• Paint brush• Badger balm

Straw fo r bail Cup of w ater Ball stylus tool Fine sandpaper Kiln o r Torch Stainless steel brush and burnishing too l o r tum bler

1. Roll out a sheet o f clay 1 mm thick. Use Badger balm round the cutter edge to stop the clay sticking to the cutter.

C u t out one daisy. Use a damp paintbrush to release the petals from the cutter. Place the daisy onto a piece o f Teflon and smooth the edges with a paintbrush. Repeat this to create a second daisy.

2 . Add some paste into the centre o f the first daisy and place the second one on top. Press down for 10 seconds to ensure the tw o pieces are bonded.

3 . Take a 1 table spoon o r 15ml plastic measuring spoon and rub badger balm on the inside ofthe spoon.

Take the double daisy and place it in the inside o f the spoon. The badger balm will help you move it around so that it is placed in the centre.

4 . Take a small pea size o f clay and roll into a ball. Add paste in the centre o f the daisy. Add the ball and use a ball stylus to create the stamens.

T h e P M C S tud io 17 C h ilte rn Business C e n tre , 6 3 - 6 5 W o o d s id e R oad , A m e rs h a m , H P 6 6 A A P ho ne: 0 8 7 0 8 5 0 0151

E-m ail: in fo @ th e p m c s tu d io .c o m W e b : w w w .th e p m c s tu d io .c o m

5. Leave the piece to dry completely. Add paste and sand w here needed.

6 . Once refined roll a coil and add a bail.D ry and sand the bail.

7 . Place the finished piece onto some kiln pillow and fire in a kiln on the PMC3 fast programme o r 700C fo r 10 mins.

F a c t s h e e t p a g e 2

F i r i n g

A P M C kiln is th e q u ick es t w a y o f fir in g m ultip le

item s . I t is also th e m o s t se cu re w h e n fir in g P M C w ith glass, c o r k c lay o r organic m ateria ls .

T h e K iln can also be used fo r glass fusing and

enam elling.

Product type T em p Firing tim e Approx.Shrinkage

P M C 3 7 0 0 C 10 m in u tes 10 %

P M C + / G o ld 9 0 0 C 10 m in u tes 15 %

P M C Standard 9 0 0 C 2 h o u rs 3 0 %

T o rc h fir in g is suitable f o r s m a lle r ite m s as yo u n e ed

to k e e p th e e n tire ite m h eated . O n c e th e b in d e r has

b u rn t o f f (pic righ t) th e P M C piece w ill s ta r t to g lo w o ra n g e . T h is is w h e n yo u s ta rt tim in g th e

s in terin g p ro cess .

U se y o u r w atch o r c lo c k to t im e tw o m in u tes . K e e p th e to rc h m oving

and d o n o t g e t th e p iece to o h o t o r it w ill s ta rt to m e lt and bubble.

F i n i s h i n g

M att FinishU se a stainless s tee l brush to s m o o th

th e surface and achieve a m a tt fin ish. U se a bail brush to g e t inside y o u r bails

and sm all areas, and a ring brush

f o r rings.

High Shine finishC o n tin u e to s m o o th th e surface by

burn ish ing w ith an agate b u rn ish er.

Add strength & ShineT u m b lin g w ill s tre n g th e n y o u r P M C and polish it a t th e sam e tim e .

T h e lo n g e r y o u tu m b le

th e s h in ie r it gets!

L o o k o n lin e f o r T o o ls and

accessories to em b e llish and finish y o u r pieces.

P latinol and L iv e r o f s u lp h u r he lp

d e fin e te x tu re and p a tte rn .

S ee o u r Fact sh eets n u m b e r 5

o n antiqu ing so lu tio n s .

F o r fu rther in form ation and fac t sheets con tact The PM C Studio:Tel: 08 70 8 50 0151 E-mail: info@thepmcstudio.com W eb: www.thepmcstudio.com

The PMC Studio 17 Chiltern Business Centre, 63 - 65 W oodside Road, Am ersham , HP6 6AA Tel: 0870 850 0151

© T h e P M C S t u d i o L t d . 2 0 0 7

et and

Q Can you te li us about your career until th is point and w hen you started making silver clay jew ellery?A I trained in fashion design and textiles; I started making wedding dresses then I moved to work vvith various crafts and all sorts of media. I later became an adult education teacher in arts and crafts, I came across metal clay accidentally, but it has been my devoted passion ever since.

Q What inspires your jew ellery m akes?A The challenge to push myself on a journey of discovery to find a technique or skill l've not tried before inspires me. To create projects that I can go on to share and teach in a vvorkshop. I currently find myself being dravvn into creating pieces that have movement and mechanism such as hinges and locks.

Q What has been the highlight of your career so far?A I feel very lucky to have studied under the vvorld’s best artists in metal clay, each one has been sudh a highlight. When I travelled to Japan it vvas such an honour to train vvith the Japanese masters at the factory and offices of Aida, the makers of Art Clay Silver. The experience vvill be a memory I treasure forever.

Q What is your favourite jew ellery making product to use?A Simply metal clay in all its forms. When I began using metal clay there vvere two bands of silver. Now the metal clay family is grovving vvith many brands of base metals too. The challenge is keeping up-to-date vvith the rapid grovvth!

Q What outlets do you use to seli your jew ellery?A I predominantly teach, and focus all my attention on running and teaching at Craftworx Studio, vvhich leaves little time for making to seli. Hovvever, I do seli on a small scale at events I attend usually nearer to Christmas. I also seli through two local galleries all year round. I open my door three times a year to an 'Open Studio Event’, vvhere the visiting public are invited to brovvse and shop at all the artist studios on the farm.

Q How vvould you describe your style?A l'm not entirely sure I have ever settled on one style, but others teli me they think I have. I know I like formal symmetry in my vvork and currently love the articulated pieces l’m making.

www.beadsaııdbeyondmag:azme.com

This month we interview metal clay expert Tracey Spurgin. She telis us about her career and her amazing

farm based studio in East Yorkshire!

Q Can you te li us a bit about your studio and where it is based?A The Craftworx Studio is one of eight artists’ studios situated in superbly renovated barns on a vvorking farm, set just outside the picturesque village of Bishop Burton in East Yorkshire on the edge of the Yorkshire VVolds. The modern conversion to the studios provides a light and spacious place; it is a very vvell equipped facility vvithali the essential tools and equipment for your use. The studio also offers full vvheelchair access and facilities.

Q Whose work in your field do you admire and why?A I have a few favourite artists, each different in style, but ali equally talented. Holly Gage inspires me vvith her attention to detail in her natural forms pieces. Hattie Sanderson creates quirky, contemporary designs. Terry Kovalick, vvith his time- consuming, pıecision detailed hand created pieces, are quite simply stunning.

Q Do you teach any workshops?A I do teach courses and vvorkshops mainly from my own studio, but equally I also travel across the UK to colleges, shops, museums and community groups. I was recently invited to Europe to teach for a group of metal clay tutors, l'm alvvays happy to receive invitations to travel to teach metal clay.

Q Do you have anything exciting planned for the coming year?A My plans for the coming year are to continue to grow Craftworx Studio and seek out another majör artist for next year's master class. There are some exciting plans on the horizon, but not yet finalised, so keep a look out on the Craftvvooc vvebsite. I also have a personal target: to vvalk 100 miles to raise £1000!

Q What advice vvould you give to someone who is keen to learn more about making jew ellery?A Metal clay is an amazing material to vvork vvith, and we ali vvant good value for money. Find a good quality course, vvith a qualified instructor, look for recommendations and testimonials as they vvill be able to give you plenty of sound advice. Do your homevvork and compare who offers vvhat.Check out the facilities they offer and ask for details - some things that might seem incidental but can be important e.g. parking, disabled access ete. What is ineluded in the cost of the courses? VVhat vvill you be making? Are the clay and jevvellery findings ineluded? What vvill you be taking home? Read the terms and conditions vvhen you book. When you have found the right class for you, relax and enjoy and have some happy clay time!

Win a jewellery making workshop worth£ 1 3 0 !

Tracey has kindly offered to giveavvay a free vvorkshop place at the Craftworx Studio in East Yorkshire! The prize vvinner vvill attend the 'Introduction to Silver Clay' vvorkshop and can choose from a seleetion of dates (See Craftworx vvebsite for details). Ali materials are ineluded too!The vvorkshop experience vvill give you a sound knovvledge and skill base vvith ali the tips and techniques of vvorking vvith silver clay. İn this relaxing but inspiring atmosphere you vvill have a vvide seleetion of tools and equipment to use, for you to gain knovvledge and confidence in vvorking vvith silver clay. You vvill vvork vvith three silver clay produets to complete three pieces of fine silver jevvellery. The day is aimed at the beginner vvith little or no experience of making jevvellery or handling metal clay.

H o w to e n te r...To be in vvith a chance of vvinning this amazing prize just ansvver this simple question. VVhere is Tracey's studio based? Is it a) On a farm, b) By the sea, c) An industrial estate. Emai! your ansvver to bab@traplet vvith 'Craftworx' as the subject. Include your full name and telephone number in the email. Competition eloses on 10th May. Winner vvill be notifıed by email on Monday 13th May.

A b o u t C ra f tw o r x ...You vvill find Craftworx Studio set in East Yorkshire near the village of Bishop Burton. Led by Principal artist Tracey Spurgin, a professional praetitioner and experienced tutor, Tracey offers a vvide range of jevvellery courses and vvorkshops. For further details log onto www.craftwon<.co.uk Craftworx Studio, Cold Harbour Farm, Bishop Burton, East Yorkshire HU17 8YD

Please note: İn the event you cancel your place, no alternative vvill be offered. For further terms and conditions log onto the Beads & Beyond vvebsite www.beadsandbeyondmagazine.com and click the giveaways link.

To see more of Tracey’s work please log onto the following: Web: www.craftworx.co.uk Email: Tracey@craftworx.co.uk Tel: 07961 883115 - Facebook Tracey Spurgin or Craftworx

www.beadsandbeyondmagazine.com 2 3

About tlıLs boole..I'lıin book vvas desijrned to Ik1 <ı vvorking tınıl for the metal clay begirıner as »veli a* a beııch ıeference for the melal c lay artist. Ih e ıe aıe m aııy boofcs vvitlı p ro ­jece and delailed infoım ation on specific lechnic|iıes thai aıo w ell rvorıh readingand ırving oul. Hut tvhen you just need a quick question an*vvcrcd vvlıat can vı >ıı tın ıı to?

I have a İJff ic lihrary and I fiııd ınyself »carching each book for ju>t tlıo right İtit of informatioıı. VV'lıilc tlıis, nor any book can İn: all cncoıııjınsMiıt* lıaviııg a ceııtralizcd place tıı jot note» and information caıı be a u:-.etııl tool in the studio. And as your w orld tvork- ing ıvith metal dav unfolds, your discoveri«s and vvrillen ııoles can have a place lo reşide ıv ilh in the5c |M g M .

I'jıch artist duv«l«|ts tlıeir ııvv n vvorking kvlıııitjiK'Mand lıabifo. W İta t may vvoık vvell for one perlon may not Lıe a 'comfortable' method for anotheı. llovvever, theıe aıe certain Standard m les of the road lhal just about evervone vvorking w ilh melal c lay follmvs. W h y ? Because vvlıeıı sometlıiııg vvoık-; w oil, w o do il tlıat ıvuy! And lıecaıise tlıere <ııe ccıhıin liın iN to any material that must be obsMved to have a succeastul reu lt.

Ii 'a r ıı l>v riNiding, learn bv ıvatclıiııg, but most of all, learn l>v DOINCJ! Don't ho itate to b y soınething oııt and by all mean;- have fun e\p lo ıin jî the expandiııg vvorld of metal clav!

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CKAFlara/fl

The Creative Magazine for Creative PeopleFeaturing Tobias Kaye's Soundıng Bowls We talk to Kaffe Fassett & Steve Klein and previevv the stunning work at this year’s British Craft Trade Fair Our Courses & VVorkshops Directory has something for everyone. from Textiles Woodworkıng & Glass to •- Jevvellery, Ceramics,Blacksmithing ^and more!

craft&design exclusive behind-the-scenes vvith the BBC, Mastercrafts and Monty Don

Issue 208 March/April 2010 Price £5.95

www.craflanddesign.net9 " 7 7 0 9 5 3 9 1 9 1 0 0

racey bpurgınCraftworx

A stylish studio set !n stunning East Yorkshire counırysıde makes an ıdyllıc setting lor Tracey Spurgin b Vıt ırkplace " I’ve been here since lasi lu.'ie. Tracey telis me, ' and I ahsolntely lbve il. Havinş mv âtudio ;n thc^e convened Victorian farm buıldmgs has Iıberared my house back into being a h am t again'"

This spariâus arul vvelcoming studio is not only lh= place v.here Tracey creates herovvn work it's also \vnere she nolüs her Silver An Ctay VVorkshops. leaehtny elhers hovv lo use Ilıt: material that lu> hcxome such a large pan o f her life

I oriğinally Iraihed ın lextilcs and fashion design Tracey retalls. b u l ! ve alvvays \vanted to teach so vvhen ıhe time vvas r:ght, I look j teaching qualiiıcat!orı and began by leaching soft fumisnings and interior design at Hull College. Gradualîy the suDjecıs I taugm vvere extended to mclude o:her i ralli. sttet: ab | evveli e ry making but vvhen the furıding fcır the courses »an m il , ! deddcd te {şet up tndcperıdenfly vvillı my ovvn Icvvellery Making NVorkşnops “

For a ijme Traccv n iadr and sold hc-r jevvellerv al teali ?üirs bul my mam sim has alvvays been to teach so exhlbiting at crall îaırs also hslpcd to promote my vvorkshops she recalls.

Trac ey, v. hu b Ihe Educatlan Oflicer lor Ihe Silve: Art Clay Gulld w Ihe ÜK. lelLs me about Ihe much acclaiıtıed bul relalivelv ne w Ari Ctay CcrtificaÜbn Programım:. vvmch has wurfdwide recogmııoıı

Level ı of Ilıe Progı anime takes you to ıhe siage <A bemg qualified ta teach tnlroduclory classes.1 she eşiplaiüs,' vvhıist lhöse wHo succcssfuhy complete Level II hcccuhe Senİot \rı Clay Inslıuaors

Allhough some stil) coni-ıder melal clay ıo be little! more ıhan a h,tbby craft material Tîacey’s vvoık ıs a (ine exaıuple<>f hovv versallle this 2 tsl century material can be Deveieped in lapan and ongınally a by-ptoduet

o:'the tılm andprinöng mdustries Art Clay is ;n the m o s basic terms, a mixture ol lıny panıc.es oj silver ior hrorize. ot copper pı-rhapî) mixed vvith an »ganic hndeı in nınke il maileahle and easy t»- use

When fired in a kiln or wlth a blovv torch :he binder bums avvay completely 10 leave only silver

"This material i? abrAil creativuy ' says Tracey. and noı having lo buy eXpenşrve tools and

ecurpnıen: irs reiariveh. easy ta leâm hovv to use it sirnple designs can be achteved lajriy quıckly, but ıt 5 more difhcull to rcally masteT Ihe nalerial ıha;'.akcs nıure time and e*pencnct

Mastcnng iriorc corr.plex and specialist skills is vvhat Tracey ıs currently focussmg on asshevvorks her vvay Ihrough 50 challengıng projects ‘ar İhe Master's Registry, ali dssigned lo devclop specınc :echniques and skills: I his is the intemat:onal!v recogniseû qualincatıon that proıessıonal Silver An Clay designer makeii- ampire to öchfeve Lfiiıriched js recenlly a s 2008 by ÜS metal d ay exjieıt Tim McCreİght the Masters Registrv not only aıms to devclop skills aı a professional levei. but also encourages imıovatiun and expcdmcntatıcın.

■It reaUy pushes out the hjuııdaries Of vvorking vvith ıhe material, says Tracey. İt gıves pcople the oppomımıy and comidence to do ıhıngs w:th :: that have nliver been desne befprc."

Allhough hnny Silver Ari Clay creates 9C* hallmark qualıty silver. Ütis clcaıly Is nol sıîveramithing in Ihe ıradilional sense of ıhe vvord and ..bl Tracey vvh ilil sh< fçc i Ih aı ıslı d îeluctaııcc lo see Art Clay vvork -<s İme craftsmanship is valld.

'Tradıtionü! sılvcrsmıthıng has developed over hundreds o f years and lot conlemporaıv slivcssmUhs Uk. skills and ıc<>ls are ail 111 placc Hbvvcveı Ai t Clay :s only aı:oul fifteen years o!d. ^ ; vve'rc stili leanııng. v/c re stili dcvelopıng ik lllsand tmding out more evcıy day âbuul the jKilentidl ol lh . materlal she sav's

■'From 3 persoııal pomı 01 v lew " she cutılüıues, i think there- ıs piörtly o-: room l i r both - the end

product may bc silver Jtrvvellery. bul ine starlltis» and linishing place> and the Jourjıey betvveen the two :ırc diffenini. I see the developnıc-nl o f a soectal Ivpt :f des^ner ınaker vvho uses bolh sifversrnıtlııny skills «ınd AH Clay skills lıı thoiı .vorl,

Although much '»fwhat she does revolves around her bright lighl studio Ttacey also iravels rxtensıvcly vvith her vvork. Much 01 vvhat she's

Crafrsman craüâdesign Magazine lAîrcK Apıü 2010

îmrohxtl [İl :hx‘ MaslCTS.HegıSTr/[(.-r cx3mp!c. -rtgin.ıU» from America where the matçriatis being used İti divcrse and Inrovâüve wa^s A •.veek long tnp to Chicago lası ıııiv vvasoneof İhc highughfs of h t r ycar

A group af Rve t<İ us attended dte K il Ğ a y Vvtoöd Cuiıft-’ftıncf- shesavs Wİİh three day* ol Masıerclasses and lwo and 2 lıajf days o f lectures.11 vvas hrlllianl find that people come to Art Ciay rront mnm fİİlTcrcnt disaplinüs sııgaf paste, ceram iti. u:xUJes. * ard crall il.'s interestiııg and ınspınng to see :hc \vori< that comes js a resul! ol lhçsc di dereni hacfcgrounds.

Nbv she s pianrıır.H a vve«?k ol t^achifiğ in Spain !!•- April aitJ hetoir that shc‘11 be vis&nğ lapan Home oı An o>\v "Ten •; us \viil oe spendi:^ a vvcci v. ırkıııg vviih Hu* Misten». vısumgthe Art Clay feçtvnyaıııi leamirig «nere about hovv ir.s used İ m ahvays inteıesied 10 see biuw othet people vvotk i ve already get lo tsrtf qucsnans readv tor then '

There ıs.informâtiatt a ta tıl Trafcey's'Silver Ait o .ay \Vorkihops on her .-.ebsite www.craıVA'orx .:o.ul; n cmaıl her ıor more jntörmation about ber\Vork:E m iLsy^vrafhvor.-; a v i ik

Cfafteman cralt&desigri Magazine MarchAprl! 2010 6 3

Classes C alendar in s id e M eta lw erx T ravel In fo Fail Catalog C ontact Us

Small Scale Mokume GaneIn s tru c to r: Eric Burris

Level: intermediate and aboveR equirem ents: Basic Metalsmithing SkillsProgram : FailStatus: OpenLength: 3 DaysT uition: $ 450M ateria ls : $ 0D ate: October 12, 2013 - October 14, 2013 Tim e: 9:00 AM - 5:00 PM Location: Metalwerx

E l [&

Mokume Jevvelry by Eric Burris

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Mokume gane is an ancient Japanese technique that bonds many layers of precious metals into a single piece that is then vvorked into beautiful patterns. The name literally means "vvood pattern metal" vvhich describes the organic shapes different layers of metal create vvhen formed into decorative sheet.

Through a series of demonstrations and hands-on practice, participants vvill learn a lovv tech, low cost, and efficient method for making Mokume Gane. Techniques demonstrated include fusion & diffusion bonding, refractory kiln brick furnace fabrication, seamless ring fabrication, Mokume Gane patterning, as vvell as various metalsmithing and jevvelry techniques (including sawing, forging, and soldering) pertinent to the process.

The vvorkshop begins vvith each student producing a 16 layer billet vvith copper and sterling silver. The metal vvill be fired in refractory kiln brick furnaces vvith soldering torches as the heat source, vvhich is easy to recreate in home studios!

Over the course of the vveekend, participants vvill move on to fabricate a seamless Mokume Gane forged band ring. Leftover material vvill be made into patterned sheet metal that can be incorporated into future vvork. The goal is to thoroughly understand the process for creating Mokume Gane and gain new fluency vvith the material under the guidance of an experienced teacher and artist.

I f you'd like to see more of Eric's vvork, please visit his vvebsite ericburrisiewelrv.com

M ateria ls & Tools

There is no materials fee for this vvorkshop. Students need to bring the supplies listed belovv. If you have questions or vvould like assistance, please contact us by email ( registration@metalwerx.com) or phone (781-891-3854).

S tu den t Supply List:

• 6" x 1" 18 gauge copper sheet• 6" x 1" 18 gauge sterling silver sheet• #1 /0 and #4 saw blades• Any flex shaft burs you already have for patterning sheet• safety glasses• ear protection• closed toed shoes• leather work gloves• basic hand tools(saw, fileş, sand paper, scribe, ruler). Metalwerx has hand tools available for use during elass, but students may

have to share. You are welcome to bring your favorite things that you commonly use and would like to have on hand at elass.

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.SO5 = 1 School for Jevvelry and the Metal Arts

Classes C alendar in s id e M eta lw erx T ravel In fo Fail Catalog C ontact Us

introduction to Jevvelry (Vendor Day Edition!)In s tru c to r: Ms. Sarah Doremus

Level: Beginner R equirem ents: None Program : Fail Status: Wait List Length: 2 Days Tuition: $ 350 M ateria ls : TBAD ate: October 19, 2013 - October 20, 2013 Tim e: 9:00 AM - 5:00 PM Location: Metalwerx

S tudent work with necklace by Sarah Doremus bottom left

This course is currently full. Spaces do occasionally open up so if you vvould like to be put on the wait list please cali our office at 781-891-3854 or email registration@metalwerx.com. (Please include your name, phone number, and email address.)

Have you always wanted to learn to make jewelry but never had the time? If that is the case, this condensed two day exploration of beginning jewelry basics may be your ideal solution.

Students will learn to saw, anneal, solder, file, texture, rivet and polish metal. Projects include a pierced pendant, sterling silver ring, and textured earrings with handcrafted wires. This is a great elass for the beginner on the go, or for those who just need a quick refresher. No experience is necessary for this workshop.

V endor Day Bonus! Our 9th annual Vendor Dav wi11 be happening on Sunday. Students wi11 head over and spend the morning with Sarah, as she gives a guided tour that covers basic tools needed to make jewelry. Entrance fees are ineluded with tuition. Participants wiII have the opportunity to purehase supplies if they like and practice using them in Metalwerx's studio all afternoon as they work on projects.

I f you'd like to see more of Sarah's work, please visit her website www.sarahdoremus.com

Note: This workshop starts early. Please be on time and ready to work.

M ateria ls & Tools

An estimated $40 materials kit, payable to the ınstructor at elass, ineludes copper, sterling silver, solder, saw blades, and other supplies to complete projects.

Students should bring:

• Small hand towel• Tool box (shoe box, plastic tackle box ete.)• Old tooth brush (for eleaning)• Ruler• Ultra Fine point Sharpie permanent marker• Sketchbook, pen and pencil

| Home | Classes & VVorkshops | VVho's VVho |inside Metalwerx | Galleries |Contact Us | Maps & Lodaina | Terms & Policies | | Press Room | Metalwerx Insider | Get Our Brochure | Links & Suppliers |

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Classes C alendar in s id e M eta lw erx T ravel In fo | Fail Catalog C ontact Us

Classical Chain Making: Loop-in-LoopIn s tru c to r: Ms. Ann Cahoon

Level: Intermediate to AdvancedR equirem ents: Jevvelry II or equivalent, and confidenceat the torchProgram : FailStatus: OpenLength: 3 DaysT uition: $ 450M ateria ls : TBAD ate: November 01, 2013 - November 03, 2013 Tim e: 10:00 AM - 5:00 PM Location: Metalwerx

13 ( S

Jevvelry by Ann Cahoon.

Photo Credit: Robert Diamante

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Loop-in-loop chains are one of the tru ly classical expressions of the goldsmiths art, fluid yet vveighty, and delicate, vvith great strength. This class takes students step by step through ali of the techniques involved in creating these beautiful structures.

Students vvill begin vvith a chain of basic construction, and progress to more complicated structures, as their knovvledge of the process grovvs. Techniques covered include coiling and cutting jum p rings efficiently, fusing links successfully, chain patterns, and finishing processes. There vvill also be demonstrations on the S Hook, Bayonette clasps, and terminations as time permits.

Prerequisite: Jevvelry II or equivalent. Comfort and confidence at the torch required.

M ateria ls & Tools

Students may purchase these items on their own or specify to receive them in a kit on the first day of class. Students vvill be contacted one month prior to class to place their orders. The estimated cost of the materials kit is $45.

• 22 g round fine silver vvire (1 1/2 ounces)• 3/8 inch vvooden dovvel (6" per student)• wax blades (for cutting dovvels, 1 per student)• 24 g copper vvire

Students w ho enro ll a fte r O ctober 21 vvill need to provide th e ir ow n vvire.

S tu den t Supply List:

• jevvelers saw frame and 4/0 or 6/0 blades• Joyce Chen shears or high quality solder shears• safety glasses• a clean (ideally un-used) brass brush• silicon-carbide rubber abrasive vvheels (ie Rio Grande Advant-edge) in coarse, medium, and fine grits• a compressed charcoal block (either un-used, or vvith an un-used side)• a hand tovvel• sketchbook or notebook• calculator• ziplock bags (jevvelers scale if possible, othervvise "snack" size vvill

do)• 2-3 small shallovv containers (ie plastic yoğurt lids, undivided sorting trays, small ja r lids, little sauce dishes)• chain nose, round nose, and half-round forming pliers

O ptional, but nice to have:

• a hand file to use on steel• transfer punches (Metalwerx also has these available for use during elass• o-ring or opening pliers• Delrin sheet• drill index• pocket seri be

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Ö = lİ M ETAL W ERX

School fo r Jevvelry and the Metal Arts

M e ta lle r*5ü uuınan St.A'alth jm , MA 0^451

Trl: 7dl-SÖ»*38Ş# fc x : 781 891-33S7

Classes C alendar in s id e M eta lw e rx T ravel In fo | Fail Catalog C ontact Us

Metal Clay JevvelryIn s tru c to r: Ms. Michela Verani

Level: Beginner R equirem ents: None Program : Fail Status: Open Length: 2 Days T uition: $ 350Only $ 332.5 for registration before 09 October 2013 M ateria ls : $ 110D ate: November 09, 2013 - November 10, 2013 Tim e: 10:00 AM - 5:00 PM Location: Metalwerx

B ( S

Metal Clay Jewelry by Michela Verani

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Have you alvvays vvanted to learn to make jewelry but never had the time? If that is the case, this condensed two day exploration of metal clay techniques may be your ideal solution. Silver metal clay is a unique form of silver. I t looks and behaves like clay, but when fired using a torch or kiln, it becomes a pure silver object.

Learn the basics of vvorking vvith silver metal clay by making one-of-a-kind earrings and a pendant. Skills covered include stamping,cutting, creating a bail, setting stones (directly fired into the clay!) as well as finishing methods.

In addition, come to understand the history of silver metal clay, its vvorking characteristics, and necessary tools. Students vvill also be presented vvith handouts documenting this information, a bibliography, and a complete list of suppliers.

This course is appropriate for beginner through advanced students. Projects vvill be presented that vvill be appropriate for all skill levels.

I f you'd like to see more of Michela's vvork, please visit her vvebsite www.everlastinatreasures.ora

M ateria ls & Tools

There is a $110 materials fee, payable when signing up, which includes 40 grams of Art Clay Silver.

Students who like to work large may require additional clay. I t wiil be available for purchase as necessary at elass. In addition, stoneswill also be available for purchase at elass - expect to spend about $5 on stones that can be fired in place.

S tu den t Can Bring:

Tool kits are provided for use during elass, but students can bring the ir favorite tools if desired.

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Copyright © 1996 - 2007 MetalWerx Site by The Ganoksin Prolect

İNTERMEDİATE prodect

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\ Splash necklace

Try out a fantastic new product from Pebeo and create

a dramatic summer necklace.

*Tracey is a seııior Art Clay instructor \vith more than 12 years o f teaçhing e.vperience. She delivers \vith passion and enthusiasnı, either resident at her o\vn studio or travelling aboııt the country.

"\Vith a summer holiday eheme and a fabulous new product to help add aınazing finish to this piece, 1 knewexactly what I \vanted to create," savs Tracey. "This fun, splash necklace is the result!"

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30 g Art Clay Silver Rollerl.mm spacer bars 2 x teardrops cutters Circle cutters Brass brush FileşSanding grits Polishing papers A little paste or syringe.Pebeo Prisme - turquoise Thread, selection of beads and clasp

w w w.c ra ft \vorx .co.ıık ww\v.Pel)eo.com

fashion inspirationSandals, £12.99, Internacionale

tnıcey(« cra ft\v< »nc.co.uk 07961 883115

Handbag, £195, Modalu London

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Roll out the clay into a long thin strip İmm thick. The strip needs to be approx.0.5cm wide. Take the teardrop cutters and use a little Badger Balm to oil the inside edge of the cutter.

STEP 2Line the inside edge of the cutter vvith the strip of clay making a neat sealed join then allovv to dry. Once dry, gently ease the dry frame out of the cutter. Repeat this to create four identical frames and one using a larger teardrop cutter.

STEP 3Roll out another clay sheet to imm thick using the tvvo sizes of teardrop cutter to create the first large frame top vvith the aperture. Remove the excess and allovv to dry. then file and refine.

Using the small teardrop shaped cutter and a circle cutter. roll out some clay to imm thick. Cut out the shape and an aperture; repeat this four times. Allovv them to dry. then file and refine the pieces.

STEP 5Roll out the clay to 0.75mm thick and prime the surface vvith vvater. Hold the dry, refined tops on the vvet clay. ensuring that the tvvo layers are well sealed. Then use a needle tool to cut around the edges. Remove the excess and allovv to dry. Repeat to create ali five tops.

STEP 6Add the frame to the tops by applying a line of syringe around the back edge. Press gently but firmly to adhere the tvvo sections together. Use a paintbrush to clean up any excess from the syringe then allovv to dry once again.

Continue to refine the joins using paste or syringe. Sand. file and refine using polishing papers: this process assists the final polishing to get a high end finish. Drill a hole for threading the components through later.

STEP 8Once the unfired pieces have a nice smooth surface, fire to the manufacturers instructions, polish or tumble to finish. Finally use a soft cloth and polish to a good shine.

STEP 9To add the coloured medium, ensure that the pieces are sitting on a flat, level surface. Give the bottle a good shake then use a craft stick to pick up the medium and allov/ it to drip and self level. İt will slovvly develop and dry over the next 72 hours. Finally, thread the pieces along vvith a seleetion of beads on to a necklace. To add a nice finishing touch fiil the reverse side vvith resin or polymer clay.

FEATURE

Sian Hamilton travels to Yorkshire to C ra ftw orx Metal

Clay Jevvellery School and attends a masterclass vvith

Terry Kovalcik

I n May 1 w as lucky en o u g h to g e t a p lace on a m aste rc lass b e in g held in Y orkshire by C raftw orx , vvhich is th e s tu d io o f o u r

re g u la r co n tr ib u to r, Tracey S purg in . She had invited T erry Kovalcik across from th e USA to d o a w o rk sh o p o n m ak in g boxes an d d eco ra tin g w ith p a p e r clay an d silver paste .T he sam e vvorkshop vvas ru n tw ice an d 1 jo in ed th e seco n d elass o f e igh t s tu d e n ts on a th ree -d ay in tensive to lea rn th is in te re s tin g technicjue.

T erry is a w ell-respected m em b er o f the m eta l clay com m un ity in the US and has developed an am azing way o f vvorking vvith paste clay to bu ild u p beau tifu l d eco ra tio n on silver clay pieces. H e specialises in boxes o r lockets (as m ost a re o n chains) an d m akes a un itjue h inge vvith p a p e r clay.

T he first day s ta r te d vvith an in tro d u c tio n by T erry an d th e chance to see exam ples o f his w ork. He ra n th ro u g h vvhat w e vvould be m ak ing by shovving us a few sam ples o f vvork in p rogress. From th e o u tse t I vvas very excited to be o n th is co u rse as 1 have an obsession w ith boxes o f any k ind , from silver clay to plastic (m uch to my h u sb a n d ’s annoyance re: th e co n tin u in g saga o f them spilling o u t o f k itehen cupboards!). I had even designed my deg ree show co llec tion a ro u n d rings vvith secre t co m p artm en ts , so th is them e w as com pletely ‘u p my S treet’.

From the start, Terry told us tha t he vvorks very precisely and accuracy is the nam e o f the gam e for this style o f piece. İn th is he proved to be right, as it becam e a battle o f precision to get the box shape just right. We first w orked on bu ild ing a solid box, like a big bead and then w e had to cut it vvith a p iercing saw to m ake a lid and base, and yes, it vvas as h a rd as it sounds. T here vvere n o t m any peop le b rea th ing in the room w hen the tim e cam e to cu t th e ir boxes! İn tru th I held my breath th rough so m any stages th a t it felt like I’d done a vvorkout by the en d o f each day.But in the en d 1 d id get th ro u g h the cu tting o f my box and nıoved o n to the nex t stage to m ake a hinge w ith p ap er clay, vvhich is a Terry invention! This is one techn ique tha t I vvill be using a lot as it’s an am azing way o f m aking hinges. İf you w an t to knovv the secre t I’m I w w w .craftw orx.co.uk,www.terrykovalcik.com

afraid you’ll have to find an o th e r Terry Kovalik course to a ttend , a lthough he d id say he was in terested in vvriting a book, so le t’s hope tha t com es to fru ition som etim e soon.

T he h inge w as m ade an d a ttached ; w hich so u n d s sü p e r sim ple, b u t believe me, accoun ted for a go o d coup le o f h o u rs on day two! We th en w en t o n to a ttach a hasp and nose to an eh o r th e catch o n the fron t and tw o ‘e a rs ’ from w hich th e box w ou ld hang by w ay o f a chain . This w hole process took up th e first tvvo days b u t by th e en d I had a p re tty reaso n ab le locket w ith h inge and hasp elosu re , so I vvas happy.

O n day th re e T erry show ed us his way o f w ork ing w ith p aste to ‘d ra w ’ a p a tte rn o n to d ry silver clay. Fle uses p aste to bu ild up a design, refines it w ith a w atery p aste so lu tion an d th en fires th e fin ished piece in a kiln.We had a b o u t h a lf a day to do th e d eco ra tion an d it vvas a p re tty tigh t dead line , b u t I w orked h a rd an d g o t th e piece fin ished just in tim e to go in the kiln . It w as fired u p over lunch an d everyone had th e chance to chat an d finish off o th e r p ieces if they w ished. It w as a little ten se w aiting for the k iln to finish an d th en cool dow n . But finally it h a p p en ed an d w e all g o t to see o u r pieces. T erry had exp la in ed th a t th e re w as likely to be a bit o f w arp ing , th a t it w as n o rm al an d could be dea lt w ith by re -shap ing w ith w o o d en tools. So I w asn ’t su rp rised w ith th e sm all am o u n t o f w arp in g on my box, I w as how ever very su rp rised to find my p iece had bubb led on every panel, vvhich w as d isap p o in tin g and 1 stili really d o n ’t k now why. B ubbling w ould norm ally be caused by th e clay be in g a bit d am p going in to the k iln , w hich w as n o t the case vvith th is p iece as it had b een in and o u t o f a d eh y d ra to r over th re e days. Terry w as at a loss as to vvhy th is had h a p p e n e d too.

T hough I en d ed th e elass d isappo in ted w ith my piece; it w as an am azing learn ing experience and 1 enjoyed m eeting all the o th e r studen ts, Terry and his w ife C orrin . My th an k s goes o u t to Tracey for an o th e r superb m asterclass and 1 look forw ard to m any m ore.

C ra ftw o rx stud io

The elass ou ts ide the vvorkshop

■ w r r r

W orkshop in progress

Terry vvith a s tuden t

REGULAR

EMMAJULIAGORDON

TRACEYSPURGIN

■ Keep clay moist by wrapping in clingfilm and storing in an airtight Container with a small piece o f \vet sponge.

' Have a look in your local D IY store; you can ofcen find great tools at cheaper prices ur find vvallpaper samples that would make great textures.

CANDYCHAPPILL

■ Make use of storage pots so notlıing is wasted. Everything can be saved and re-used.

■ When making rings, keep a shrinkage recorcl. This really helps to get the right size every time.

■ If you are on a budgeı, try adding other elements such as resin anıl polymer to help your clay go further.

F o c u s o n . . .

Metal clayWe ask four metal clay designers the ir top tips!

İn this issue we feature tips on vvorking vvith metal clay from four top designers vvho provide their expert opinion. So if you are just starting out, check it out before you get going!

A cocktail stick is rough enough to sand dry clay anıl gets into small areas.Flatten your clay into a pancake before rehydrating the clay vvith a vvet finger.

»■ lise vvell-hydraıeıl lumps of clay lo fiil j;:ıps in yoıır vvoı k rather tlıan paste.Mould odıl scraps of paper-type metal clay into small halis for embellishment.

*■ Never underestimate the povver of the wct finger t<> smooth surface cracks or edges.

Alvvays make a mock up in polymer clay first; test textures, sizes, cutters, ete.

•- Be careful o f eross-contamination vvhen vvorking vvith different metal elays. Keep ali tools elean anıl use separate sanding pads and fileş.

A sevving neeılle makes a great makeshift neeılle tool for cutting out template shapes.

*■ Emen' boards make a great tool for sanding straight edges quickly.

•• İf you vvant a high polish on a piece, use an agate burnisher to burnish before firing.

•- Think the steps and the process through first. Be prepared by having ali your tools elean and ready to hand.I.iglıtly lubricate a vvork surface and tools vvith a little badger balm or olive oil (not Vaseline). Don’t open the packet and play vvith clay; it vvill not tolerate this.

•• Have a clear design in mind and try out your iıleas in polymer clay first.

*• Quickly conılition the clay after opening by rolling it fast anıl harıl in the heel of your hands. Bring the clay to a soft putty ball, vvith no cracks or fold lines.

Hair barrette

T racey is a senior Art Clay instructor with more liıan twelve years’ teaching

experience, vvho delivers with passion anıl enthusiasm, either resident at lıcr ovvn studio or travelling about the countrv.

This barrette is made with Hadar’s Clay'”, vvhieh is ınixed only with \vater to create a crumbly mixture, vvhieh is massaged to form a soft, pliable dough. This can be manipulated into shapes and then dried naturally to allow the surface to he carved before being fired in the kiln. Not only is this barrette useful for keeping hair tamed on vvitıdy days, but it is light and strong anıl its surface decoration gives it a real autumn feel.

100g Hadar's Ouick-fireBronze ClayRoller2mm spacer bars Paper to create template BowlPalette knife Water spritz bottle Needle tool Circle cutters Radial disc Snake roller Dockyard carving tools Gilders paste

wwvv.craftworx.co.uk Tracey@craftworx.co.uk 07961 «83115

Start by sketehing out the design on paper and cut it out. Apply a generous coverage of Badger balm or olive oil to the paper template. This prevents the paper from sticking to the wet clay.

RESOURCESH a d a r’s Clay:www.craftvvorx.co.ukTools: www.mcsj.co.ukM aterials: www.metalclay.co.ukK ilıı f i r in g ti ın e s :vvw vv.a rt i nsi lver.com/Qu ick-fire_clay_instruction_manual.pdf

To f ire b ronze clay you w ill need a kiln, a steel Container and som e ac tiva ted carbon .Follovv Hadar's firing schedules carefully. You might need to adjust the firing schedule for your kiln. Try a test firing first to ensure that your kiln fully sinters the metal clay. The leftover clay needs to be stored vvrapped in dingfilm in an airtight Container vvith a damp sponge. This helps retain the condition of the clay.

Tame your hair on those vvindy autum n days

vvith this bronze falling leaf hair ornam ent.

By Tracev Spur

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Mix up lOOg of Hadar's povvder clay with a little water and empty the contents into a bowl. Slovvly spritz in water and mix with a palette knife until the clay achieves a crumbly, dough-like consistency. Massage the clay in cling film, cover and store in an airtight Container.

Prepare a vvork surface vvith a little Badger balm; roll out the clay to 2mm thick. Place the paper template onto the clay, then use a needle tool to cut around the outline to remove the excess and the paper template. Use a circle cutter to cut two holes at opposite ends of the piece.

To add the gentle arch to the piece, carefully lift and drape the clay over the curve of a bovvl. Let the pieces dry.

STEP 5Once the pieces are dry, sketch on a design. Using Dockyard carving tools, carve out the pattern directly into the dry clay. The bronze remains slightly soft so it carves beautifully. Approach the carving vvith a steep angle and as you gently move forvvard vvith the tool, reduce the angle so the handle is almost parallel vvith the clay.

STEP 7The clay needs to be fired in a kiln. Hadar Jacobson regularly make updates to the firing times, so refer to the online instruction manual by logging onto the address shovvn in the resources section. The last page of the manual gives a quick reference table for firing schedules.

STEP 8After firing, the bronze vvill need to be cleaned and polished. After cleaning, progress through radial discs on a rotary drill. Wear goggles and dusk mask.

l v \ t r a p r o j e c t

Using the same technique to make smaller leaves; make a bracelet by attaching the leaves together vvith jumprings and finish vvith a fancy toggle clasp or make a keyring vvith jumprings and leaves vvith a hole only at one end.

STEP 9To add the final embellishment detail, use gilders paste. To do this, load up a stiff bristled brush vvith a small amount of gilders paste and apply vvith a stippling action. Allovv the gilders paste to dry a little, then use a soft cloth to rub off the excess paste. Allovv to dry fully for about 12 hours.

STEP 6Take a piece of clay and using your fingers, start rolling the clay into a torpedo shape. Change to using a snake roller and taper one end of the clay by vveighting or favouring one side of the snake roller. When the shape is complete, set aside to dry.

Snowflake pendanti

This stunning snovvflake pendant has a gem

hidden inside.

T:I racey is a senior Art Clay instructor with more than twelve years’ teaching experience vvlıo delivers vvith passion and enrhusiasm, either resident at her own studio or travelling about the country.

This project is to make a heautiful snovvflake pendant, perfect for your vvinter wardrobe. Tracey has used a İovely fireable stone to embellish this pendant but it vvould look just as good in plain silver or copper.

T R E E D E C O R A T IO N The shape also makes a g rea t Christm as tree decora tion . I've made one from copper and hung it on a piece o f ribbon.

30 g A r t Clay S ilver Roller2m m spacer bars1mm spacer barsO uikArt™ 54817 Texture PairsO uikArt™ 2 Step Tem plate -H oliday SnowflakesCircle cu tte rsNeedle too lsF ireable gem stonePaste o r syringeBrass brush

Sanding g rits P olish ing papers Tum ble po lisher

RESOURCESwww.craftvvorx.co.ukwww.metalclaysupply.com

CONTACTwww.craftworx.co.uk Tracey@craftworx.co.uk 07961 883115

Extra projects V l u k o o n i t İ n ö s

a l i d u ( r o t *

f l o o o r n l i o ı ı

Make tw o snowflake shapes, d r ill a ho le in the po in t o f each one and hang from an ea rw ire fo r a s im ple pa ir o f earrings.

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STEP 1You vvill need to use p ro du c ts from the O u ikA rt range fo r th is p ro je c t: a te x tu re m at and a snow flake tem p la te . P repare all o th e r too ls, m ate ria ls and equ ipm en t. L igh tly o il a vvork surface.

Roll o u t the clay 2m m th ick . Lay the clay on top o f the te x tu re p late. Place 1.5mm spacer bars on top o f the plate, then lay the second p late face dovvn on the clay. As these plates are a positive and nega tive o f the same pa tte rn , use both p lates to te x tu re both sides o f the clay.

STEP 3Use the snovvflake stencil vvith a needle to o l to ca re fu lly cu t around the ou tline. Ensure the needle too l is held at 9 0 ° to the vvork surface to ach ieve clean cu t ou tlines. For one side o f the snovvflake, use a circle c u tte r to cu t a ho le in the centre .

STEP 4Using a tissue blade care fu lly li f t the cu to u t clay and drape over a fo rm to crea te a dome. This vvooden dom e is the knob handle from a salt pot, but m easuring spoons o r ligh t bulbs are also useful fo rm ers. Be care fu l vvhen m oving wet clay as it 's very easy to s tre tch o r d is to rt ou t o f shape. Set th is aside to dry. Repeat the Steps 1-4, th is tim e vvithouf the centre hole. This second side vvill create the back of the snovvflake. Leave to dry.

STEP 7Proceed vvith cau tion on th is step. Sit the snovvflake vvith the edges dovvn on sanding g rit. Using con tac t po in ts to ho ld the dom ed snovvflake, gen tly ro ta te the d ry clay in a c irc le o r figu re -o f-e ig h t. This is to take dovvn the cu t edges to ta p e r the edge. The aim here is to make the tvvo halves o f the snovvflake m eet.

STEP 5To add a gem stone to hide inside, ro ll ou t clay 3m m th ick . Push a fireab le gem stone in to the clay by ge n tly ro llin g over to ensure the stone tab le is level vvith the surface of the clay. Place a piece o f c ling film over the clay then use a c irc le c u tte r to cu t th rou gh the clay. This gives a lovely rounded edge to the clay vvithout the need fo r filin g and sanding. Set aside to dry.

STEP 6Once dry, re fine all the edges o f the stone se tting and the tvvo halves o f the snovvflake, vvith file ş o r g rits , being care fu l no t to file o ff the surface te x tu re on the snovvflake.

56

STEP 8Use a litt le paste o r sy ringe to adhere the gem stone se ttin g to the cen tre back inside the cupped ha lf o f the snovvflake. Next use a li t t le paste o r syringe to jo in the con tac t po in ts on the tvvo snovvflake halves. Leave aside to d ry once m ore.

STEP 9 ' ^ >-*»To fire the snovvflake in the kiln, support the piece vvith fib re b lanket to ensure the vvork doesn 't slum p during fir ing . Fire at 8 0 0 °C fo r 20 m inutes. Once fired , vvire brush o r usea turnb le po lisher to com plete the piece.' a r ^ 7

Wheel of

• v w w c ra f tw o rx .c o .u k

STEPİOn a prepared vvork surface, roll ou t the clay to Im m th ick . L igh tly balm the tem p la te vvith badger

balm to p reven t it from stick ing to the clay. Dip

the needle too l in to the balm to he lp the too l g lide th rou gh the

clay, as you pierce ou t the design. Leave to dry.

summer colourMake a bracelet in silver clay adding an enamelled splash of colour.

By Tracey Spurgin

T racey is a senior art clay instructor and artist vvith more than 13 years’

teaching experience. Passionate and enthusiastic, she is either resident at her <>wn studio, out and about in the UK or vvorking as an international teaching tutor.

A vvide variety o f jevvellery tem plates are available. and all have many ııses in many different jevvellery m aking techniques. H ere’s how Tracey ııses a vvheel tem plate vvith silver clay to create a colourful bracelet.

MATERIALS 30g A rt Clay S ilver RollerBadger balmC ra ftw o rx design tem p la te (2315)1mm and 0.75m m spacer barsBrass tubeNeedle too lsP ain tbrush and pasteBrass brushFileşSanding g r itsP olish ing papersTumble po lisher o r rad ia l discL iver o f S ulphurPebeo Fantasy Moon pa in t

RESOURCESwww.craftvvorx.co.ukwww.metalclay.co.uk

CONTACTTracev@ craftworx.co.uk

I > C S l g l K T ( İ [ )

Try m aking you r own stencils by sketch ing ou t a design on paper. Lam inate and cu t ou t w ith a sharp c ra ft knife.

STEP 6To a tta c h the bum ps to the com p on en ts , app ly a ve ry t in y am o un t o f paste to the unde rs ide o f the bum p, s it it in to p lace and w ick aw ay any excess paste vvith a w a te r b rush o r a fine w et p a in tb ru s h .Leave to d ry .

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Repeat the p ie rc in g to make enough designs fo r the braee le t. Make an e x tra piece, bu t th is tim e p ie rce o u t the cen tre bars; th is vvill becom e the to g g le elasp fo r fa s te n in g fo r th e braee le t. Once ali the fram es are d ry , ge n tly sand and file each piece to make th e su rface level and fla t.

3 l EP 3To make the backing, ro ll ou t the clay to 0 .75m m th ick . Use a pa in tb rush to apply a litt le vvater. Place the fram e on to the wet clay. Very gen tly firm dovvn the fram e on to the vvet clay. Using the needle too l, once again p ierce around the ou te r edge o f the fram e. Remove the excess clay and place to dry.

STEP 4Sand and elean each o f the com ponent pa rts vvith fileş, g r its and po lish ing papers.

STEP 5To crea te the de ta il o f lit t le bum ps, use a brass tub e o r s im ila r item you have to hand. Cut it to a m anageab le leng th and use it like a re g u la r c irc le cu tte r. B efore you cut, place c lin g film ove r th e to p o f the c lay to crea te a c le a r rounded sho u lde r to each shape.Leave to dry.

To fire the pieces, place on a gas hob o r to rch fire vvith a small handhe ld blovv to rch . Or you can f ire them in a kiln at 8 0 0 °C fo r 20 m inutes.

The po lish ing op tions are to use a handhe ld ro ta ry too l o r a tum b le po lisher. Oxidize using w arm vvater and L ive r of S ulphur so lu tion .

STEP 9To add the co lou r to the cells app ly Pebeo Fantasy Moon. To con tro l th e app lica tion o f the p ro du c t in to the cells pick up a tiny am oun t o f p ro d u c t on a fine needle, and allovv it to d rip in to the celi. Ensure th a t the pieces are level vvhile the p ro du c t dries. Allovv at least 4 8 hours to d ry and then assem ble the braee let using ju m prin gs .

E x t r a p r o j e c t s

a r r i n ı t e a n d a p e ı ı d a n t

Once you have rolled the clay, repeat the p iercing technique to make one large piece fo r the vvheel pendant and follovv th rough the rest of the steps. When dry, a ttach a suitable necklace.

İn the sam e vvay, make a pa ir o f m atehing ea rrings, hang ing easily fro m one o f the corners o f the vvheel.

MOSAIC COLOURMake a pair o f earrings in fine silver clay with addedpolymer clay for colourful detail. S pintin

T racey is a senior A rt Clay in s truc to r and a rtis t vvith more than th irteen years’

teaching experience. She delivers vvith passion and enthusiasm , either resident at her ovvn studio or travelling in the UK or as an In ternational teaching tutor.

Tracey adds the colour to this silver piece vvith polym er clay by creating m icro mosaic tiles, then em bedding them into resin. C raftworx Jevvellery tem plates can help to create suitable space for adding colour to your m etal clay for th is and o ther projects.

MATERIALS*■ 7g Art Clay Silver •" Roller- Craftworx design template 2259 “ • 1.5mm spacer bars- 1 mm spacer bars *■ 0.5mm spacer bars » Needle tool• Brass brush

"■ Fileş*■ Sanding grits • Polishing papers

Tumble po lisherorradial disc *■ Earwires and jumprings

Designer tips

» Be prepared by having all your tools clean and ready to hand.

- Lightly lubricatea vvork surface and tools vvith a little Badger Balm or olive oil (not Vaseline).

“ ■ Condition the clay by rolling it fast and hard in the heel of your hands. Bring the clay to a soft putty bail, vvith no cracks or fold lines.

S T E P 5To fix a back to the pieces, roll out some clay 0.5mm thick repeating the texture technique, the texture side vvill be the back. On the smooth side, apply a little water. Gently place the dry section onto the vvet clay, now press and hold in place for about one minute. Remove the excess clay using your needle tool. Set to dry.

R E S O U R C E Sw w w .craftw orx.co.ukwww.m etalclay.co.uk

C O N T A C Tw w w .craftw orx.co.uk Tracey@craftvvorx.co.uk 07961 883115

Project I Intermediate

S T E P İOn a prepared vvork surface, roll out the clay to 1.5mm thick. Lightly balm and texture the clay. Here a vvallpapersampie placed underneath the clay creates the perfect shallovv texture. Reroll using lm m spacers.

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S T E P 2Using the Craftworx template, pierce out the smallest pattern. Use a fine po in ted needle tool. Start the piercing at the narrowest po int o f each o f the aperture shapes. Keep the stencil in place over the clay vvhile you pick out each piece o f excess day. This helps to support the clay and reduce any distortion in movement.

STEP 6Once fully dried, clean and refine around the edges o f the earring pieces. Using fileş and polishing grits work until the tw o layers are no longer visible. Each earring should look like one seemless piece.

STEP 3Next cut the outline shape o f the earring. This can be done freeform or using further stencils. Repeat for the second earring. This process can be repeated to achieve large components or play around vvith the positioning o f the stencil on the clay to create further pattern (see the ring as an example). Set the pieces to dry.

S T E P 7Fire the pieces using your preferred method, following the manufacturer's instructions.Begin the polishing, oxidise the earring pieces using Liver of Sulphur, then use soft cloth and polish. Leave the recess of the design vvith the heavy patina colour. This provides the background colour for the polymer inlay.

STEP 9Use a shape craft knife to slice the baked clay into micro mosaic pieces. Pick up the mosaic piece vvith the point o f the knife d ip each piece in a little PVA glue then stick pieces into the reservoirs of the design. A llow the glue to dry, then apply a little resin to fiil the remaining spaces.

w w w c r a f t s

Extra Projects M ake a pendant

and a ring

STEP 4Once fully dried, the earring pieces need to be sanded and cleaned with fileş. The clay is very delicate at this stage so it vvill need very light and careful handling.

STEP 8Use polymer clay canes, or mix up some coloured polymer clays to create a similar effect. Slice these up and back onto some serap polymer clay. Pass through a pasta machine on the thinnest setting to create a vvafer thin sheet of polymer. Bake the polymer around 120°C for 15 minutes. Allovv to cool.

P E N D A N TThe pendant pieces are made using the same technique. Add a bail to the back of the top piece and attach the top and bottom pieces vvith a hinged link. I added a set stone to the bottom piece. Attach to a snake chain.

RINC,This is made using the

template and cutting two ares back to back. At the dry pre-fired stage attach to a silver clay ring shank.

45

V ss s % .

M ETAL W ERXj. Celebrating

* * * K15 years

Metalwerx Fall 2013

Classes & Workshops

Weekend Workshops

with Michael Boyd

• Basic Lapidary

• Designing w ith Stone: Beyond Basic Lapidary

see p a g e 4

M etalw erx is aJewelry/M etal Arts School and Community Studio

50 Guinan Street, Waltham, MA 02451Telephone:781-891-3854Email: info@metalwerx.comVisit us on the web at: www.metalwerx.com

Weekly ClassesMondays

— Casting and Wax WorkingDate: Sept 23 - Dec 9 , 2013 (10 sessions)Time: 10:00 AM - 1:00 PMInstructor: David BairdLevel: All skill levels, Metalworking exp. helpfulTuition: $450 (5% Early Bird Discount: $427.50)Materials: $65 payable upon registration

Elissa Steinert

Casting and wax w ork ing allow s fo r com plex curves, surfaces, and textures th a t would be d iff ic u lt and tim e consum ing using fabrica tion m ethods. Participants w ill produce o rig ina l pieces o f silver and bronze je w e lry th rough carv ing /creating wax models, sprueing, investing and casting wax pieces. Become captivated by m olten m eta l and harness the po ten tia l its f lu id ity offers. Casting approaches covered include cuttlebone and broom, w ith a focus on the tra d itio na l lost wax process. There w illbe no class on Oct. 14 and Nov. 11. I f a make-up class is necessary, i t w ill be held on Dec. 16.

Jewelry 1: Take 2!Date: Sept 23 - Dec 9 , 2013 (10 sessions) Time: 1:30 PM - 4:30 PM Instructor: Leah Meleski Website: leahmeleski.com Level: Beginner; Jewelry 1 required Tuition: $450 (5% Early Bird Discount: $427.50) Materials: $50 payable upon registration

Have you taken a beg inn ing course ye t feel like there are gaps in your know ledge compared to those ideas sw irling around in your head th a t you w a n t to make? Refine skills w h ile exploring new techniques to enhance je w e lry designs. Investigate cold connections, tex tu ring , re ticu la tion , and creative solutions fo r find ings (ear posts/w ires, bails fo r pendants, and cu ff links). Review stone se tting techniques and learn to tab -se t a gemstone as w e ll as create a faux prong se tting fo r odd shaped stones or objects. There w ill be no class on Oct. 14 and Nov. 11. I f a make-up class is necessary, i t w ill be held on Dec. 16.

Tuesdays

student work

Jewelry 1Date: Sept 24 - Dec 3 , 2013 (10 sessions) Time: 10:00 AM - 1:00 PM Instructor: Monique Rancourt Website: moniquerancourt.com Level: Beginner; No requirements Tuition: $450 (5% Early Bird Discount: $427.50) Materials: $80 payable upon registration

Develop fundam enta l hand skills, good stud io habits, and an appreciation o f q u a lity craftsm anship. In th is in troducto ry course students w il l acquire essential fabrica tion techniques th rough creating a series o f o n e -o f-a -k ind jew e lry . Throughout the semester, learn to saw, pierce, file , texture , rivet, solder, patina, polish m eta l, and basic stone se tting . Time w ill be spent practicing on sample pieces as w e ll as app ly ing these skills to make a layered cu ff bracelet and ring w ith a set stone. There w ill be no class on Nov. 26. I f a make-up class is necessary, i t w ill be held on Dec. 10.

Jewelry 2Date: Sept 24 - Dec 3 , 2013 (10 sessions) Time: 1:30 PM - 4:30 PM Instructor: Monique Rancourt Website: moniquerancourt.com Level: Interm ediate; Jewelry 1 required Tuition: $450 (5% Early Bird Discount: $427.50) Materials: $45 payable upon registration

Jewelry II provides the o p p o rtu n ity to hone in on skills learned in Jewelry I w ith the add ition o f new techniques inc lud ing how to transfer im agery or hand-draw n designs onto sheet m etal th rough e tching and m aking earrings w ith hinged mechanisms. The last pa rt o f the semester w il l focus on h o llo w ring construction (or ho llow form s). P articipants w ill com plete a visual resource sketchbook, m u ltip le e tch ing samples as w e ll as designing and com pleting a t least tw o o rig ina l je w e lry designs. There w ill be no class on Nov. 26. I f a make-up class is necessary, i t w ill be held on Dec. 10.

Jewelry 1Date: Sept 24 - Dec 3 , 2013 (10 sessions) Time: 6:30 PM - 9:00 PM Instructor: Diane Lawton Level: Beginner; No requirements Tuition: $425 (5% Early Bird Discount: $403.75) Materials: $70 payable upon registration

Develop fundam enta l hand skills, good stud io habits, and an appreciation o f q u a lity craftsm anship. Gain fundam ental fabrica tion skills w h ile creating unique, handcrafted jew e lry . Class projects include a s te rling silver band ring and a pendant w ith a set stone. Demonstrated techniques consist o f sawing, soldering, piercing, te x tu rin g , annealing, and ro lle r p rin tin g m etal, as w e ll as basic stone se tting . There w illbe no class on Nov. 26, 2013. I f a make-up class is necessary, i t w ill be held on Dec. 10.

student work

M ateria ls K it Policy:M eta lw erx provides m aterials kits in classes fo r our students' convenience. We m ust estim ate costs many m onths in advance from when we actua lly order supplies fo r your class. Due to the v o la til ity o f the m etals m arket, all m ateria ls k it prices are subject to change. The actual cost o f your m ateria ls k it w il l be based on the cost o f m eta l/supp lies a t the tim e m ateria ls are ordered. Students w il l be no tified in advance o f any changes. Differences w il l be reimbursed or collected a t class.

Weekly ClassesWednesdays

MâEllen Carno

Directed Open StudioDate: Sept 25 - Dec 4 , 2013 (10 sessions) Time: 10:00 AM - 1:00 PM Instructor: David Baird Level: Interm ediate and above; Jewelry 1 req'd Tuition: $450 (5% Early Bird Discount: $427.50) Materials: Provided by students

This is an o p p o rtu n ity fo r students to w ork on independent projects w ith answers to questions and guidance offered by a professional. Finish up projects h id ing in your bench and ge t assistance tack ling new pieces based on those ideas sw irlin g around in your head. This course is loaded w ith great bench tips to guide students through projects w ith success. The topics covered w ill be based on needs and interests. There w ill be no class on Nov. 26,2013. I f a make-up class is necessary, i t w ill be held on Dec. 11.

Weaving with Wire 1Date: Sept 25 - Oct 16, 2013 (4 sessions)Time: 1:30 PM - 4:30 PMInstructor: Joy RaskinWebsite: joyraskin.comLevel: All skill levels; No requirementsTuition: $225 (5% Early Bird Discount: $213.75)Materials: $40 payable upon registration

Wire is a fascinating, flex ib le m edium th a t na tura lly lends its e lf to weaving and textile techniques. A no ther advantage is th a t it can be a low -tech process done in the com fo rt o f a liv ing room! Using basic hand tools, students w il l be ta u g h t how to k n it in fla t, tu b u la r and freeform orienta tions. Get started w ith V iking kn it and move on to the tabby weave and tw in in g , as w e ll as varia tions on each sty le. Students can choose to produce samples o f each technique or fin ished projects such as jew e lry , sculpture, baskets, or o ther decorative home accessories. I f a make-up class is necessary, i t w ill be held on Oct. 30.

Weaving with Wire 2Date: Nov 13 - Dec 11, 2013 (4 sessions)Time: 1:30 PM - 4:30 PMInstructor: Joy RaskinWebsite: joyraskin.comLevel: Beginner-Intermediate; Soldering skills req'dTuition: $225 (5% Early Bird Discount: $213.75)Materials: $45 payable upon registration

Take the next step in w ire w orking w ith more com plex weaves w h ile investigating fabrica tion strategies applicable to w ire -w o rk in g projects. S tudy m ethods fo r m aking and weaving in to basic fram es to create stu rd ie r structures applicable fo r pendants, boxes, lampshades, etc. A dd itiona l techniques dem onstrated include the herringbone weave, w ork ing w ith m u ltip le wires in woven chains, shaping kn itted structures, fabrica ting and a ttach ing end caps onto kn itted tubes, and fin ish ing solutions. There w ill be no class on Nov. 27. I f a make-up class is necessary, i t w ill be held on Dec. 18.

Jewelry 2Date: Sept 25 - Dec 11, 2013 (9 sessions)Time: 6:00 PM - 9:00 PMInstructor: Joy RaskinWebsite: joyraskin.comLevel: Interm ediate; Jewelry 1 requiredTuition: $450 (5% Early Bird Discount: $427.50)Materials: $50 payable upon registration

This course presents a series o f projects designed to expand the student's sk ill set, increase confidence a t the torch and solve setbacks w ith fin ish ing , soldering and stone se tting . Learn and practice both flush and tube se tting fo r faceted stones, discover unique bezel concepts, fo rm a hammered cable link chain, and add pattern and color to m etal th rough solder inlay. Students w ill have tim e to pursue a pro ject o f th e ir own design th a t incorporates techniques learned in the course. There w ill be no class on Oct. 23, Nov. 6 or Nov. 27. I f a make-up class is necessary, i t w ill be held on Dec. 18.

ThursdaysChain Maille: Advanced Persian WeavesDate: Sept 26 - Oct 17, 2013 (4 sessions)Time: 10:00 AM - 1:00 PMInstructor: Karen KaronWebsite: karenkaron.comLevel: Intermediate; Chain Maille experience req'dTuition: $195 (5% Early Bird Discount: $185.25)Materials: $30 payable upon registration

This 4-w eek class is geared toward experienced students w ho are interested in expanding th e ir chain m aille pa le tte . Each week, one in term ediate/advanced level weave w il l be presented: GSG, GSG Sheet (vertical o rien ta tio n ), A rkham , and Arkham Sheet (vertica l o rien ta tio n ). How to weave in m irror im age w ill also be shown. Samples o f these patterns w ill be constructed using a lum inum ju m p rings. The rem ain ing class tim e w ill be devoted to pursuing personal chain m aille je w e lry projects w ith guidance provided as needed. I f a make-up class is necessary, i t w illbe held on Oct. 24.

Soldering SolutionsDate: Oct 31 - Dec 5 , 2013 (5 sessions)Time: 10:00 AM - 1:00 PM Instructor: Barbara Seidenath Level: Beginner; Basic metalworking skills req'd Tuition: $250 (5% Early Bird Discount: $237.50) Materials: $20 payable upon registration

Learn how to prepare and set up pieces fo r soldering, contro l heat, and avoid messy clean-up. Gain experience in p lann ing, executing, and troub leshoo ting soldering strategies by s ta rtin g o u t w ith five essential exercises th a t cover the basics o f hard solder fabrica tion . Participants w ill move on to more delicate and com plex soldering projects like ho llow form s and chain links w ith the o p p o rtu n ity to w ork on a pro ject o f th e ir own design as tim e allows. There w ill be no class on Nov. 28. I f a make-up class is necessary, i t w ill be held on Dec. 12.

Weekly Classes(Thurdsays continued)

Chain Maille JewelryDate: Sept 26 - Oct 17, 2013 (4 sessions)Time: 1:30 PM - 4:30 PMInstructor: Karen KaronWebsite: karenkaron.comLevel: All skill levels; No requirementsTuition: $195 (5% Early Bird Discount: $185.25)Materials: $25 payable upon registration

Discover a va rie ty o f chain m aille weaves th a t can be adapted in to earrings, necklaces, and bracelets. Emphasis w il l be on m astering patterns and design options. Weaves covered include Byzantine Chain, Box Chain, Flower Unit, Triple Point Byzantine U n it , European 4-in-1 Weave (S tra ight, Bias, W idening, Closing and Round M aille ), Parallel (Helm ) Chain and Parallel (Helm ) Flower Unit. Discussions and dem onstrations on properly opening and closing ju m p rings, how ju m p rings are made, how size affects design, ca lculating gauge conversion, connections and closures, em be llish ing and fin ish ing w il l also be addressed. I f a make-up class is necessary, i t w illbe heldon Oct. 24.

Intro to EnamelingDate: Oct 31 - Dec 5 , 2013 (5 sessions)Time: 1:30 PM - 4:30 PMInstructor: Barbara SeidenathLevel: All skill levels; Metalworking exp. helpfulTuition: $250 (5% Early Bird Discount: $237.50)Materials: $40 payable upon registration

In th is in troducto ry course, students w il l fuse colored glass powders onto m etal surfaces w ith both kilns and torches w h ile exploring a varie ty o f textu ra l and surface treatm ents, visual presentations, and research to support the learn ing process. Technical dem onstrations cover basic enam eling techniques inc lud ing m etal preparation, w e t and d ry app lica tion o f enamel, pa in ting and d raw ing w ith colors, cham pleve, fo ilin g and d iffe re n t surface treatm ents. Participants w il l have tim e to w ork on personal projects related to concepts shown. There w ill be no class on Nov. 28,2013. I f a make-up class is necessary, i t w ill be held on Dec. 12.

Bowls, Vases, and MoreDate: Sept 26 - Dec 5 , 2013 (9 sessions)Time: 6:30 PM - 9:30 PMInstructor: Cynthia EidWebsite: cynthiaeid.comLevel: All skill levels; Jewelry 1 requiredTuition: $450 (5% Early Bird Discount: $427.50)Materials: Provided by students

Become skilled a t transfo rm ing sheet m eta l from a f la t disk in to a bow l, vase, or o ther type o f container. Avoid fa tigue and discover how to use a ham m er to le t i t "do the w ork,” im proving endurance and accuracy. Students w il l learn sinking, angle raising, crim p raising, and plan ish ing skills p e rtin e n t to fo rm ing containers. In add ition , options for rims, feet, and fin ishes may be explored, according to partic ipan ts ' needs and interests. New "raisers” and experienced m eta lsm iths are w elcom e since projects can be ta ilo red to ind iv idua l skill levels. There w ill be no class on Oct. 3 and Nov. 28. I f a make-up class is necessary, i t w ill be held on Dec. 12.

Masters WorkshopsA frequent presence in our Summer Series, Michael Boyd is an in ternationa lly recognized lap idary a rtis t and master o f bezel setting who has Michael Bo yd worked in the fie ld fu ll tim e fo r almost three decades. “ The stone is as im portan t as the metal. I am looking fo r an integration o f the media, am anipulation and blending o f the tw o: using stone as a medium, no t as an accessory." - M ichael Boyd

Basic LapidaryDate: Tue, Sept 10 -Thu, Sept 12, 2013 (3 days) Time: 10:00 AM - 5:00 PM Instructor: Michael Boyd Website: michaelboyd.com Level: All skill levels; No requirements Tuition: $525 (Early Bird Discount: $498.75) Materials: Available for purchase as necessary

Every je w e le r even tua lly tires o f buying typ ica l stones and se tting them in conventional settings. Spend three days w ith M ichael Boyd and come to understand ways to cu t and polish cabochons w ith lim itless shape, size, and color options. Enhance and d is tingu ish je w e lry designs w ith custom cu t stones. All the lap idary equ ipm en t is provided and Michael w il l have a large supply o f rough m ateria l to purchase, b u t students are welcom e to bring th e ir ow n uncut or broken stones.

Beyond Basic Lapidary: Designing with StoneDate: Mon, Sept 16 - Thu, Sept 19, 2013 (4 days)Time: 10:00 AM - 5:00 PMInstructor: Michael BoydWebsite: michaelboyd.comLevel: Interm ediate & above; Jewelry2 req'dTuition: $645 (Early Bird Discount: $612.75)Materials: Available for purchase as necessa ry

Lapidary is more than ju s t cu tting and po lish ing gems. Learn how to in tegrate stone and m etal as a w ho le , rather than as separate objects. Over four days, learn to shape rough stones, d rill th rough them , make perfect bezels fo r unconventional shapes, set stones on top o f stones, add decorative rivets, and o ther em bellishm ents. Students may choose to cu t numerous stones, app ly unique se tting methods to fin ished stones, a n d /o r focus on com ple ting pieces o f th e ir own design as tim e allows.

Weekend WorkshopsCasting with Color: ResinDate: Sat, Sept 21 - Sun, Sept 22, 2013 (2 days) Time: 10:00 AM - 5:00 PM Instructor: Kat ElyWebsite: katelyart.com & plusfabrication.com Level: All skill levels; No requirements Tuition: $315 (Early Bird Discount: $299.25) Materials: $75 payable a t class

Forms from Rubber MoldsA lm ost any ob ject can be cast in resin. It's a g reat way to add colored com ponents to je w e lry and a rtw o rk a t a fraction o f the cost o f precious m etals. Students w il l make silicone molds, experim ent w ith casting a non-tox ic resin, add a lm ost any color and even embed found objects (such as flow ers, bugs, or chains). Techniques covered include vacuum ing, pressurizing and cu tting apa rt m olds as w e ll as dem onstrations on casting, sanding, and fin ish ing resin pieces. Participants should bring je w e lry scale objects to class fo r m old ing . The class w il l be w ork ing sm all-scale, bu t these concepts can also be used to make larger sculptura l works.

Raising and Fluting with Fretz Hammers and StakesDate: Sat, Sept 28 - Sun, Sept 29, 2013 (2 days)Time: 10:00 AM - 5:00 PMInstructor: Bill FretzWebsite: fretzdesign.comLevel: All skill levels; Basic metalworking skills req'dTuition: $395 (Early Bird Discount: $375.25)M aterials: $25 - $30 payable a t class

When i t comes to hammers and stakes, there is on ly one th in g be tter than ow n ing a set o f Fretz to o ls --lea rn ing to make the m ost o f them from the m aster and m aker him self. Through discussion, dem onstration, and hands-on w ork tim e learn to create concave and convex form s w ith flu ted planes. F luting refers to sha llow grooves runn ing ve rtica lly or horizon ta lly a long a surface. Using Fretz's newest line o f progressive stakes, students w il l s ta rt w ith a fo rm ing stake before m oving on to a stake w ith a ridge, to create grooved surfaces. Participants w ill make both narrow and w ide bracelets illu s tra tin g each techn ique shown and practice f lu tin g in horizonta l and vertica l o rienta tions.

Intermediate Anticlastic FormingDate: Fri, Oct 4 - Sun, Oct 6 , 2013 (3 days) Time: 10:00 AM - 5:00 PM Instructor: Michael Good Website: michaelgood.com Level: Completed a t least one anticlastic

raising course, preferably with Michael Tuition: $575 (Early Bird Discount: $546.25) Materials: $25 payable upon registration

Get in depth and explore more in trica te aspects o f A nticlastic Raising. Time w il l be div ided between lectures, dem onstrations, and practice periods. Students w il l be led th rough a series o f exercises designed to teach the principles o f A nticlastic Raising, how m eta l is moved from f la t sheet in to n o n -d e fin itive forms. There w ill be tim e to practice each stage in order to d igest the concepts presented before m oving on to the next exercise. This course is s im ilar in concept to our basic class, b u t designed fo r students w ho have p rior experience so there can be more extensive explanations and o p p ortun ity to investigate the techniques fu rther.

Small Scale Mokume GaneDate: Sat, Oct 12 - M on, Oct 14, 2013 (3 days)Time: 9:00 AM - 5:00 PMInstructor: Eric BurrisWebsite: ericburrisjewelry.comLevel: Interm ediate; Basic metalworking skills req'dTuition: $450 (Early Bird Discount: $427.50)M aterials: $0, See website forstudentsupplylist

M okum e Gane is an ancient Japanese technique th a t bonds layers o f precious metals in to a single piece th a t is worked in to beautifu l patterns. Participants w il l be ta u g h t a lo w tech, lo w cost, and e ffic ie n t m ethod fo r m aking Mokume Gane, w hich is easy to recreate in home studios! Practice fusion and d iffus ion bonding as w e ll as pa ttern ing processes w h ile creating a seamless band ring. Leftover m ateria l w ill be used to make patterned sheet m etal th a t can be incorporated in to fu tu re w ork. The goal is to tho rough ly understand the process fo r producing Mokume Gane and gain new fluency w ith the m ateria l under the guidance o f an experienced teacher and a rtis t.

Intro to Jewelry: Vendor Day EditionDate: Sat,Oct 1 9 -S u n ,O c t2 0 .20 1 3 (2days)Time: 9:00 AM - 5:00 PM Instructor: Sarah Doremus VVebsite: sarahdoremus.com Level: All skill levels; Norequiremerıts Tuition: $350 (Early Bird Discount: $332.50)M aterials: $40 payable a t class

student work

This condensed tw o -d a y in troduction to je w e lry m aking is perfect fo r students w ho've a lways w anted to learn bu t never had tim e , or fo r those w ho ju s t need a refresher. Learn to saw, anneal, solder, file , texture , rive t and polish m etal, w h ile creating unique handcrafted jew e lry . Projects include a pierced pendant, s terling silver ring, and textured earrings w ith handcrafted wires. V en dor Day Bonus! Our 9 th annual Vendor Day w il l be happening on Sunday. Students w ill spend the m orn ing w ith Sarah at Vendor Day as she gives a guided tou r th a t covers basic tools needed to make jew e lry . Entrance fees are included in tu it io n . Partic ipants w il l have the o p p o rtu n ity to purchase supplies i f they like and practice using them in M eta lw erx's studio a ll a fternoon as they w ork on projects.

How to Register:

Read fu ll course descriptions and register on line anytim e a t w w w .m e ta lw e rx .co m . Students can also sign up by phone du ring regular business hours. Classes and workshops are filled on a first-com e, first-served basis. Refund Policies are listed on our website. Please contact us i f you have any questions a t 7 8 1 -8 9 1 -3 8 5 4 or in fo @ m e ta lw erx .c o m

Weekend WorkshopsTinkering with WireDate: Sat, Oct 26 - Sun, Oct 27, 2013 (2 days) Time: 10:00 AM - 5:00 PM Instructor: Ellen Wieske Website: dowstudioDEERISLE.com Level: All skill levels; No requirements Tuition: $315 (Early Bird Discount: $299.25) Materials: $15 payableatdass

Wire is a w o n de rfu lly d irec t m ateria l th a t can be used to make everyth ing from je w e lry to arch itectura l e lem ents, u tiliz in g ju s t a fe w tools. Through dem onstration , samples, images, d raw ing and discussions, students w ill bu ild objects w ith black annealed steel w ire by em ploying a varie ty o f techniques. There also w il l be discussions on the in te resting h is to ry regarding the m aking and use o f w ire. Im ag ination , patience and a w illin g sp ir it are the on ly prerequisites fo r th is workshop. W hether your style is loose or t ig h t, the unique voice o f th is m ateria l w il l y ie ld its e lf easily to the personality o f the hand ho ld ing it.

Classical Chain Making: Loop in LoopDate: Fri, Nov 1 - Sun, Nov 3 ,2 0 1 3 (3days)Time: 10:00 A M - 5:00 PM Instructor: AnnCahoonVVebsite: flyingmarquis.com Level: Interm ediate; Jevvelry2 required Tuition: $450 (Early Bird Discount: $427.50) Materials: $45 payableatdass

Loop-in -loop chains are one o f the tru ly classical expressions o f the go ldsm ith 's a rt, flu id ye t w e ighty, and delicate, w ith great streng th . This class takes students step by step th rough all o f the techniques involved in creating these beautifu l structures. Students w il l begin w ith a chain o f basic construction, and progress to more com plicated structures, as th e ir know ledge o f the process grows. Techniques covered include coiling and cu ttin g ju m p rings e ffic ien tly , fusing links successfully, chain patterns, and fin ish ing processes. There w il l also be dem onstrations on basic clasps and te rm ina tions as tim e perm its.

Metal Clay JewelryDate: Sat, Nov 9 - Sun, Nov 10, 2013 (2 days) Time: 10:00 AM - 5:00 PM Instructor: Michela Verani Website: everlastingtreasures.org Level: Beginner; No requirements Tuition: $350 (Early Bird Discount: $332.50) Materials: $110 payable upon registration

Silver m eta l clay looks and behaves like clay, bu t w hen fired using a torch or k iln , becomes a pure silver object. This condensed tw o day exp lora tion o f m etal clay techniques introduces the basics o f w ork ing w ith th is revo lu tionary m ateria l. Students w il l create o n e -o f-a -k ind earrings and a pendant using techniques such as stam ping, cu tting , and se tting stones th a t are d irec tly fired in to the clay. Add fin ish ing touches w ith unique bails fo r pendants and e legant earring wires. Students w ho have already taken th is workshop are w elcom e to jo in and pursue more cha lleng ing projects.

Unconventional Settings for Unusual Stones and PearlsDate: Fri, Nov 15 - Sun, Nov 17, 2013 (3 days)Time: 10:00 AM - 5:00 PM Instructor: Paulette Werger Website: pjwerger.com Level: Interm ediate & above; Jewelry 2 req'd Tuition: $450 (Early Bird Discount: $427.50)Materials: Available for purchase as necessary

This workshop w ill focus on design concepts and techniques fo r unusual settings th a t are applicable fo r uniquely-shaped stones, pearls, and found objects. Students w ill explore an array o f methods fo r fabrica ting custom settings and uncover a veritab le treasure trove o f tips and tricks to make th e ir stud io process more enjoyable. M orning dem onstrations w il l take up the firs t pa rt o f class each day and then students w il l have tim e to w ork independently. Topics include b u ild ing basket sty le prong settings to capture a va rie ty o f in te resting stones/objects, creating pearl cups fo r baroque-style pearls, and m aking tab settings th a t can be used w ith large cabochons, odd ly shaped pearls or o ther found objects.

Direct Casting Methods for Repurposing Scrap M etalDate: Sat, Nov 23 - Sun, Nov 24, 2013 (2 days)Time: 10:00 AM - 5:00 PMInstructor: David BairdLevel: Intermediate & above; Comfort w/torch req'dTuition: $375 (Early Bird Discount: $356.25)Materials: $20 payable upon registration

Discover a va rie ty o f d irect casting m ethods to ge t the m ost o u t o f scrap m etal w ith o u t incurring h igh re fin ing costs! Safe and sim ple approaches fo r m e lting and pouring m olten m etal w ill be covered w ith a focus on the D e lft clay sand casting system to make ingots and mold pieces fo r fin ished je w e lry and com ponents. In add ition , cu ttle fish bone, broom, charcoal and w ater casting w il l also be dem onstrated. Wrap up the weekend w ith a be tter understanding o f the casting process, the skills necessary to make the m ost o f scrap m ateria l, and a few pieces o f je w e lry or je w e lry com ponents to be used in fu tu re w ork.

A Perfect Pair: Glass Beads and Silver JewelryDate: Sat, Dec 14 - Sun, Dec 15, 2013 (2 days) Time: See website for details on locations/times Instructor: Joy RaskinWebsite: joyraskin.com & fiammaglass.com Level: All skill levels; No requirements Tuition: $275 (Early Bird Discount: $261.25) Materials: $15 payable upon registration

Get s tarted w ith tra in in g on how to design and create lam pworked glass beads on Saturday a t Fiamma Glass in nearby Newton Upper Falls. Topics covered include basic safety and equ ipm en t operation, fundam entals o f ho t glass m an ipu la tion , "w ou n d ” glass or m andrel bead m aking, glass color usage, and surface decoration. The second day w ill take place a t M eta lw erx, where partic ipants w il l fabrica te find ings fo r custom beads and discover how to incorporate them in to e legan t fin ished jew e lry . Wrap up the day w ith easy m ethods fo r po lish ing w ork and some great new pieces fo r your (or someone you care about) je w e lry co llection!

One Day WorkshopsBeach Pebble and Sea Glass Earrings

Turn those cherished pebbles and pieces o f sea glass in to eye-catching earrings th a t w ill conjure m emories o f a special day a t the beach each tim e they're w orn . Become skilled a t d r illin g th rough glass and stone safely, and learn to make unique ear w ires and find ings th a t h ig h lig h t personal treasures. Students can expect to com plete a t least a couple pairs o f earrings from s ta rt to fin ish and gain the skills necessary to create m eaningfu l je w e lry to wear long a fte r beach days tu rn in to school days.

Date: Fri, October 18, 2013 Time: 9:00 AM - 5:00 PM Instructor: Sarah Doremus Website: sarahdoremus.com Level: All skill levels; No requirements Tuition: $130 (Early Bird Discount: $123.50) Materials: $20 payable a t class

Pearl KnottingDate: Fri, December 6 , 2013 Time: 10:00 AM - 5:00 PM Instructor: Mary Stachura Website: stachurawholesale.com Level: All Skill Levels; No requirements Tuition: $95 (Early Bird Discount: $90.25) Materials: $35 or $55 payable a t class

Study the classic a rt o f pearl kn o ttin g from a true expert in the pearl trade w h ile ga in ing know ledge on how to buy a good strand, spot fakes, and correctly care for pearls. An overv iew o f the types and shapes o f pearls w il l be presented a long w ith dem onstrations on proper kn o ttin g technique and te rm in a tio n methods to accomm odate a va rie ty o f closures. Practice crim p ing , a ttach ing to a clasp using a bead tip , French W ire /bou illon , as w e ll as m aking an endless necklace (no clasp a t a ll). Students w ill also have the o p p o rtu n ity to buy add itiona l pearls from Joseph Stachura Inc.'s extensive inventory.

Create a Cuff BraceletDate: Sat, December 7, 2013 Time: 10:00 AM - 5:00 PM Instructor: Diane Lawton Level: All Skill Levels; No requirements Tuition: $130 (Early Bird Discount: $123.50) Materials: $10 payabie upon registration

A perfect in troduction to je w e lry m aking! This workshop presents students w ith the basic skills needed to create a unique, textured cu ff bracelet. M eta lw orking fundam entals inc lud ing sawing, filin g , annealing, fo rm ing , and po lish ing w il l be covered w h ile partic ipan ts make a handcrafted copper cuff. I f students w ish to make th e ir bracelets in s te rling silver, i t w il l be available fo r purchase a t class.

Bronze M etal Clay Bangle BraceletsDate: Sun, December 8 ,2 01 3 Time: 10:00 A M - 5:00 PM Instructor: MichelaVerani VVebsite: everlastingtreasures.org Level: All skill levels; Norequirements Tuition: $130 (Early Bird Discount: $123.50) Materials: $15 payabie upon registration

Metal clay provides incredib le a rtis tic range to explore both textu re and fo rm . Discover how to w ork w ith and fire bronze m etal clay w h ile m aking a couple o f one-o f-a -k ind bangle bracelets. Students w il l be shown a num ber o f ways to create bangles inc lud ing how to size them prior to fir in g to compensate fo r shrinkage. Due to the am oun t o f tim e needed to fire bronze clay, bracelets w ill be ready fo r pick up the day a fte r the workshop, b u t we can make arrangem ents to m ail them if necessary.

Handmade Closures for Hoop EarringsDate: Fri, December 13, 2013Time: 9:00 AM - 5:00 PMInstructor: Leah MeleskiWebsite: leahmeleski.comLevel: All skill levels; Jewelry 1 skills requiredTuition: $130 (Early Bird Discount: $123.50)Materials: $45 payable a t class

Hoop earrings go w ith everyth ing from jeans to evening gowns. The cha lleng ing p a rt o f m aking them is com ing up w ith the r ig h t f in d in g th a t is secure, fits a design and doesn't have a mass produced look. In one day, learn how to fabricate a hinged post w ith snap closures and variations on th is design. Students w il l com plete th is course w ith a new pair o f earrings to wear home and the skills necessary to apply these find ings in fu ture w ork. Basic m eta lsm ith ing skills such as sawing, fil in g and so ldering are required.

Stackable RingsDate: Sat, December 14, 2013 Time: 9:00 AM - 5:00 PM Instructor: Leah Meleski Website: leahmeleski.com Level: All skill levels; No requirements Tuition: $130 (Early Bird Discount: $123.50) Materials: $50-$55 payable a t class

Learn to size, solder and em bellish up to six ind iv idua l rings. Explore basic stone setting, ro lle r p rin tin g , tex tu ring , and stam ping to m an ipu la te and em bellish each ring band. Beginners and students o f a ll ages w ill have fun w h ile acquiring several very im p o rta n t foundation skills used in m eta lsm ith ing . The m aterials k it includes p len ty o f s terling silver w ire and some sheet, stones, and o ther m iscellaneous supplies fo r projects.

S

METALİ% Celebrating

• j j ̂ 15 years

Jewelry/Metal Arts School and Community Studio

50 Guinan Street W altham , MA 02451

781-891-3854 / info@metalwerx.com

W ERX

NON-PROFITU.S. Postage

PAIDPermit No. 51544

Boston, MA

Stock up at our

9th AnnualVendor DayWhen:Sunday, Oct. 20th, 10 a.m.-4 p.m.

Where:Armenian Cultural Center 47 Nichols Ave., Watertown, MA 02472

WhatM etalwerx's annual trade show for m etalsm iths, artisans, beaders, novices, and professionals. Buy supplies, attend, seminars, and find new resources.

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PRIS PR. KG. EKSKL. MVA OG RABATTER| 5% ra b a tt ved k ja p av 5 kg , 15% ved 25 kg og 25% ved k ja p av 50 kg

GLASUR 1002.1020-1080 C 85,00 GLASUR 1967,1020-1080 C 100,00 GLASUR 2388. 1230-1300 C 102.00GLASUR 1004. 1020-1260 C 72,00 GLASUR 1976, 1020-1080 C 160.00 GLASUR 2392. 1230-1300 C 76.00GLASUR 1006. 1020-1080 C 70,00 GLASUR 1977.1020-1080 C 99,00 GLASUR 2516, 1220-1280 C 42,00GLASUR 1007. 940-1140 C 98,00 GLASUR 1978, 1020-1080 C 93,00 GLASUR 2517,1220-1280 C 58,00GLASUR 1010.1020-1080 C 62,00 GLASUR 1980, 1020-1080 C 105,00 GLASUR 2518. 1220-1260 C 110,00GLASUR 1130. 1180-1250 C 62,00 GLASUR 1982,1020-1080 C 106,00 GLASUR 2519. 1220-1280C 79.50GLASUR 1131,1180-1250 C 46,00 GLASUR 1984. 1020-1080 C 175.00 GLASUR 2:20 1220-1230 C 124,00GLASUR 1132.1180-1250 C 60,00 GLASUR 1988. 1020-1080 C 73.00 GLASUR 2521. 1240-1260 C 118,00GLASUR 1133.1180-1250 C 62,00 GLASUR 1990.1020-1120 C 139,00 GLASUR 2522. 1220-1260 C 60.00GLASUR 1134. 1180-1250 C 55,00 GLASUR 1995. 1020-1080 C 126,00 GLASUR 2523, 1220-1260 C 91,00GLASUR 1135. 1180-1250 C 48,00 GLASUR 2007. 1020-1260 C 93.00 GLASUR 2524. 1220-1260 C 66.00GLASUR 1137.1180-1250 C 56,00 GLASUR 2012,1040-1080 C 89,00 GLASUR 2525, 1220-1260 C 65.50GLASUR 1140.1180-1250 C 60,00 GLASUR 2013,1020-1080 C 116.00 GLASUR 2526. 1220-1280 C 75.00GLASUR 1141. 1180-1250 C 70,00 GLASUR 2016. 1020-1080 C 81,00 GLASUR 2528. 1220-1260 C 63.00GLASUR 1142. 1180-1250 C 86,00 GLASUR 2017, 1020-1080 C 193,00 GLASUR 2529. 1220-1260 C 68.00GLASUR 1143, 1180-1250 C 153,00 GLASUR 2018. 1020-1080 C 90.00 GLASUR 2530, 1220-1260 C 72,00GLASUR 1144, 1180-1250 C 135,00 GLASUR 2029,1020-1080 C 109,00 GLASUR 2531,1220-1260 C 61,00GLASUR 1145. 1180-1250 C 60,00 GLASUR 2030, 940-1060 C 86.00 GLASUR 2535, 1200-1260 C 109,00GLASUR 1147. 1180-1250 C 70,00 GLASUR 2031, 940-1060 C 72 00 GLASUR 2542, 1180-1250C 105,00GLASUR 1148, 1180-1250 C 147,00 GLASUR 2032, 940-1060 C 88.00 GLASUR 2545. 1140-1280C 74,00GLASUR 1158. 1220-1260 C 112,50 GLASUR 2033, 940-1060 C 106,00 GLASUR 2546, 1220-1280C 60.00GLASUR 1162. 1200-1260 C 147,00 GLASUR 2050, 1120-1160 C 63,00 GLASUR 2548, 1200-1220C 62,00GLASUR 1163, 1200-1260 C 92,00 GLASUR 2051,1120-1160 C 105,00 GLASUR 2549. 1200-1280C 84,00GLASUR 1165.1200-1260 C 165,00 GLASUR 2057,1120-1160 C 92,00 GLASUR 2552. 1160-1280C 111,00GLASUR 1166,1200-1260 C 165,00 GLASUR 2059, 1120-1160 C 61,00 GLASUR 25 53 .1140-1280C 96.00GLASUR 1169, 1200-1260 C 109,00 GLASUR 21100, 1180-1230C 62,00 GLASUR 2554. 1180-1250C 120,00GLASUR 1171.1200-1260 C 96,00 GLASUR 21113, 1180-1230C 93.00 GLASUR 25 55 ,1200-1260C 90.00GLASUR 1172,1200-1260 C 86,00 GLASUR 21115, 1180-1230C 110.00 GLASUR 2556. 1200-1300C 82.00GLASUR 1173.1200-1260 C 83,00 GLASUR 21120, 1180-1230C 83.00 GLASUR 2557. 1200-1280C 58,00GLASUR 1174, 1200-1260 C 73,00 GLASUR 21123, 1180-1230C 93.00 GLASUR 2558. 1200-1280C 65.00GLASUR 1175.1200-1260 C 77,00 GLASUR 21126, 1180-1230C 101,00 GLASUR 2559. 1200-1300C 106.00GLASUR 1177.1240-1260 C 130,00 GLASUR 21127, 1180-1230C 153,00 GLASUR 25 61 .1140-1300C 69.00GLASUR 1913,1020-1080 C 76,00 GLASUR 21135, 1180-1230C 117.00 GLASUR 2562, 1250-1280C 107.00GLASUR 1914, 1020-1080 C 63,00 GLASUR 21140,1180-1230C 104,00 GLASUR 2564, 1220-1280C 95.00GLASUR 1915/2011, 1020-1240 C 79,00 GLASUR 21141, 1180-1230C 93,00 GLASUR 2569, 1250-1300C 129,00GLASUR 1916, 980-1020 C 136,00 GLASUR 21143, 1180-1230C 175.00 GLASUR 25 71 .1160-1250C 62,00GLASUR 1925,1020-1080 C 89,00 GLASUR 21152, 1180-1230C 161,00 GLASUR 2591. 1220-1280 C 90,00GLASUR 1926, 1020-1080 C 74,00 GLASUR 21170, 1180-1230C 170,00 GLASUR 2594, 1220-1280 C 54,00GLASUR 1927. 1020-1080 C 111,00 GLASUR 21171, 1180-1230C 160,00 GLASUR 2595. 1220-1280 C 70.00GLASUR 1928. 1020-1080 C 214,00 GLASUR 21172, 1180-1230C 166,00 GLASUR 2596, 1220-1280 C 101,00GLASUR 1935, 1020-1080 C 80,00 GLASUR 21173, 1180-1230C 143,00 GLASUR 2597, 1220-1280 C 202.00GLASUR 1940, 1020-1080 C 81,00 GLASUR 21184, 1180-1230C 175,00 GLASUR 2598. 1220-1280 C 64,00GLASUR 1942, 1020-1080 C 97,00 GLASUR 21187, 1180-1230C 76,00 GLASUR 2599.1220-1280 C 107.00GLASUR 1944-2521, 1020-1260 C 67,00 GLASUR 21188, 1180-1230C 88,00 GLASUR 2600. 1220-1280 C 55.00GLASUR 1945. 1020-1080 C 71,00 GLASUR 21229, 1180-1230C 143.00 GLASUR 2601. 1220-1280 C 107.00GLASUR 1946, 1020-1080 C 130,00 GLASUR 21263,1180-1230C 139.00 GLASUR 2602. 1220-1280 C 122.00GLASUR 1948, 1020-1080 C 83,00 GLASUR 21269, 1180-1230C 175,00 GLASUR 2603.1220-1280 C 77.00GLASUR 1949, 1020-1080 C 74,00 GLASUR 2200, 780-900C 148.00 GLASUR 2604, 1220-1280 C 80.00GLASUR 1951,1020-1080 C 100,00 GLASUR 2208, 1020-1260 C 72,00 GLASUR 3006, 1020-1080 C 83.00GLASUR 1952, 1020-1080 C 72,00 GLASUR 2209, 1260-1280 C 78.00 GLASUR 3012, 1020-1080 C 70.00GLASUR 1953.1020-1080 C 72,00 GLASUR 2210,1180-1280 C 66.00 GLASUR 3016. 1020-1080 C 68.00GLASUR 1954. 1020-1080 C 128,00 GLASUR 22 11 ,1240-1280C 58,00 GLASUR 4057.1020-1080 C 118,00GLASUR 1956, 1120-1160 C 83,00 GLASUR 2338, 1000-1100 C 146,00 GLASUR 4058, 1020-1060 C 70.00GLASUR 1957. 1020-1080 C 88,00 GLASUR 2340, 980-1080 C 120,00 GLASUR 4059, 1040-1060 C 92,00GLASUR 1958. 1020-1080 C 93,00 GLASUR 2362.1240-1280 C 39,00 GLASUR 4061. 1040-1060 C 105,00GLASUR 1959. 1020-1080 C 91,00 GLASUR 2364, 1230-1300 C 75,00 GLASUR 4062, 1040-1060 C 92,00GLASUR 1960. 1020-1080 C 90,00 GLASUR 2365,1230-1300 C 82,00 GLASUR 4066. 1020-1080C 94,00GLASUR 1961. 1020-1080 C 102,00 GLASUR 2366, 1230-1300 C 84.00 GLASUR 4068. 1020-1080C 166,00GLASUR 1962.1020-1080 C 107,00 GLASUR 2370,1230-1300 C 148.00 GLASUR 4069. 1020-1080C 267.00GLASUR 1963. 1020-1080 C 100,00 GLASUR 2374, 1230-1300 C 31,00 GLASUR 4072. 1020-1080C 189,00GLASUR 1964. 1020-1080 C 88,00 GLASUR 2377, 1230-1300 C 78,00 GLASUR 4073. 1020-1080C 104,00GLASUR 1965, 1020-1080 C 89,00 GLASUR 2378, 1260-1290 C 112,00 GLASUR 4074. 1020-1040 C 100,00GLASUR 1966,1020-1080 C 154,00 GLASUR 2383.1230-1300 C 136,00 GLASUR 4080. 1120-1160 C 138.00

GLASUR 21724, 1020-1060C 175.00

Vi tar forbehold om trykkfeil, prisendringer og fargevisning. Prisliste a jour pr. 29. februar 2012

İl U fu c k e ff'U e s ijn S tu d ioMkT Precious Metal C \& i 4 CKainivıaılle

P M C

A l itt le m o r e i n f o r m a t io n

What ıs PMC?

Precious Metal Cİay (PM C) represents a d ram at ıc development in the handling o f precious metals. PMC consists o f microscopic particles o f s il ve r o r gold suspended in an organic binder to create a pliable material w ith a consistency sim ilar to m odelling clay. PMC can be worked w ith the hands and simple inexpensive too ls to create a vast range o f forms and surfaces tha t may be unattainable o r laborious w ith trad itiona l techniques.

When heated to a high temperature, the binder burns away and the metal particles fuse to fo rm solid metal tha t can be treated like regular silver o r gold.

How Does It Work?

Under the proper conditions, crystals o f metal fuse together in the same way tha t droplets o f water run together to make larger puddles on the w indow pane - this is called sintering. In the case o f metals, oxides (tarnish) tha t fo rm naturally on most metals prevent this from happening. W hen firing base metals o r those w ith alloys (like sterling silver) the so lu tion is to submerge the pieces in carbon to lim it the oxidisation process caused by oxygen. This is not necessary fo r fine silver.

r - V j

PMC Types

PMC+

PMC+ was one o f the earlier versions o f PMC and is made from slightly irregular shaped metal particles. The shrinkage rate is 12-15%. PMC+ is a little drier than PMC3 and less sticky. It should be fired fo r a m in im um o f 10 minutes, either by torch o r by kiln. PMC+ is available in lump clay and sheet.

PMC3

This is the strongest version o f fine silver PMC and recommended fo r anyone starting to work w ith PMC. It shrinks around 12 - 15%. As it is the most durable and strongest PMC product it is m ost suitable fo r making rings. PMC3 is also the best fo r using w ith glass.

PMC3 can be fired at a l ower temperature and can be torch fired fo r a m in im um o f 2 minutes.

PMC3 is available in lump clay, syringe and paste.

Sterling Silver PMC

Sterling silver PMC is the newest version o f silver clay. It is an ali oy o f copper and silver and must be fired in a 2 part process. Firstly, it needs to fired on an open shelf to burn o f f th e binder and then it needs to be fired in carbon to allow sintering to take place. It is stronger than fine silver because o f the copper content and is perfect fo r making rings and o ther items o f jewellery tha t take a lo t o f wear and tear.

PMC Sterling shrinks about 15 - 20% and is available in lump clay.

The original 24k gold can be used to make solid elements fo r embedding in to o ther types o f PMC (once fired) o r turned in to paste by adding a few drops o f water. I f used as paste we recommend painting 2 -3 th in layers on yo u r PMC piece whilst stili white after firing. Then torch fire fo r 2 minutes.

22K Gold

This version is less 'orange' in co lour compared to the 24K gold and can be fired w ith PMC+ or PMC3 in a kiln o r by torch.

Different Types o f PMC

The difference between the main types o f PMC is th e ir consistency.

Lump

This is the most versatile o f the varieties o f PMC; it can be rolled, stamped, moulded textured, cut and draped. In fact anything you can do w ith clay, you can do w ith PMC lump. You can create sheet and you can add water to it and make it in to a paste / slip.

Paste

The paste comes in a small pot, the consistency o f single cream. It can be used to fill joints, join parts together and create luscious fros ting -like surfaces. It is also used fo r organic projects such as painting leaves, seed pods etc

Syringe

This material is specially form ulated to allow it to be pressed th rough a nozzle and is s lightly th icker than the aforem entioned paste. It is perfect fo r to decorate projects and add detail. In the beginner's class we use it fo r repair w ork and dry construction work, however it is easy to make yo u r own paste w ith some water and a piece o f yo u r lump clay. It's also cheaper!

Sheet

Th is version was developed w ith the Japanese origam i market in m ind. It can be folded to make interesting shapes and details, o r you can use a punch to 'stick' o n to you r main PMC piece fo r decoration.

W elcome to the exciting world of

Precious Metal Clay

Ideas and inspiration at

P r e c io u s M e t a l C la y (P M C ™ ) is

m a n u f a c t u r e d b y

M i t s u b i s h i M a t e r i a l s C o r p o r a t i o n o f J a p a n .

C o n g r a t u l a t i o n s !

If this is y o u r first e x p o s u r e to P rec io u s M eta l Clay, y o u ' r e in fo r s o m e ex c ite -

m e n t. If y o u a r e fam iliar w ith fine silver clay, p r e p a r e t o b e im p re s s e d b y th e

g r e a t w o rk a b ili ty a n d im p re s s iv e s t r e n g th o f PMC™ S te rlin g . F o r t h o s e w ith

e x p e r ie n c e , t h e in s tru c tio n s a r e s im p le :e v e ry th in g y o u k n o w a b o u t w o rk in g

w ith m eta l clay h o ld s t r u e h e re .

U se t h e s a m e c a rv in g a n d m o d e l in g to o ls , t h e s a m e te c h n iq u e s , a n d th e

s a m e c o n s t r u c t io n m e th o d s as w ith o t h e r c lay s. W i p e to o ls w ith a d a m p

c lo th w h e n sw itc h in g b e tw e e n clays, a n d r e s e r v e b ru s h e s , s a n d p a p e r , a n d

s a n d in g sticks fo r e a c h ty p e . S e e th e fo llo w in g p a g e s fo r sp ec if ic in s tru c tio n s

fo r th e r e q u ir e d tw o -s te p firing p ro c e s s . If y o u a r e n e w to m eta l c la y . ..

S t a r t H e r e

PMC™ S te r l in g c o m b in e s m ic r o s c o p ic p a r t i c le s o f m e ta ls in t h e p r e c i s e

p r o p o r t i o n s o f 9 2 .5 % silv e r w ith 7 .5 % c o p p e r — th e s a m e p r o p o r t i o n s as

tra d it io n a l s terlin g . T h e m eta l p o w d e r s a r e m ixed w ith w a te r a n d a n o n to x ic

b i n d e r t o c r e a t e a m a te r ia l t h a t ca n b e w o r k e d as e a s ily as m o d e l in g clay.

O b je c ts ca n b e m a d e w ith s im p le to o ls , th e n th e y a r e d r ie d a n d so m e tim e s

re f in e d fu r th e r . T h e p ie c e s a r e th e n ta k e n th ro u g h a tw o - s te p firing p ro c e s s

th a t d r iv e s o f f th e w a te r , b u rn s a w a y th e b in d e r , a n d fu se s t h e p a r tic le s in to

so lid m eta l.

T h e r e s u l t h a s p r o p e r t i e s v e r y s im ila r t o c a s t s t e r l i n g s i lv e r . It c a n b e

p o lish e d , s o ld e re d , a n d p a t in a e d ju s t like a n y o th e r p re c io u s m eta l.

T o o l s a n d W o r k A r e a

O n e o f th e g r e a t th in g s a b o u t PMC™ S te rlin g is th e fa c t th a t y o u ca n u s e it

a lm o s t a n y w h e re . C h o o s e a c o m fo r ta b le lo c a tio n w ith g o o d ligh ting a n d

y o u 'r e all se t. M o d e lin g to o ls can b e as s im p le as r u b b e r s tam p s , c h ild re n 's

toys, c o o k ie cu tte rs , a n d h o u s e h o ld item s su ch as p e n s , p lay in g ca rd s , a n d

to o th p ic k s . A v o id a lum inum foil a n d alum inum to o ls, b u t o th e rw is e you 'll find

th a t y o u will d is c o v e r t h e to o ls y o u w a n t as y o u g o a lo n g . A b a s ic s ta r te r kit

will in c lu d e a n e e d le to o l, a ro lling p in , o n e o r tw o small p a in tb ru s h e s , a n d a

c ra ft knife. You'll w a n t a roll o f p la s tic w ra p , a small c u p fo r w a te r, a n d o live oil

o r m o ld re le a s e . A p ie c e o f p lastic , glass, o r c e ra m ic tile m ak e s a g o o d w o rk

su rface .

W o r k in g w i th F r e s h C la y

T h e m o s t o b v io u s w a y to u s e PMC™

S te rl in g is to fo rm it w h ile it is m o s t

m a l le a b le . F resh fro m t h e p a c k a g e ,

t h e c l a y c a n b e r o l l e d t o m a k e

s h e e t s o f w h a te v e r th ic k n e s s y o u

n e e d . P re s s t h e s o f t c la y a g a i n s t

t e x t u r e s fo r d y n a m ic e f f e c t s . S o ft

c la y c a n b e r o l l e d in to r o d s a n d

ta p e r s , c u r le d , tw is te d , a n d jo in e d .

T o c o m b in e p a r ts , s w e e p a d a m p

b r u s h a c ro s s t h e jo in s e v e ra l tim e s.

F o r l a r g e r j o i n t s , m a k e a s l ip b y

a d d in g w a te r to t h e PMC™ S te rlin g

u n til it h a s t h e c o n s i s t e n c y o f th in

p a s te . E ith e r sm e a r w a te r in to fre sh

c la y ( l ik e c r e a m i n g b u t t e r w h e n

c o o k in g ) o r m ix sm a ll b i t s o f d r y

c la y s u c h as t h e d u s t c r e a t e d w ith

s a n d in g . S p r e a d th is s l ip o n t o t h e

jo in t a n d a llo w it to d ry . U se sev e ra l

c o a ts if n e e d e d .

W o r k in g w i th D r y C la y

It is a ls o w o r th n o t in g t h a t PMC™

S te r l in g c a n b e w o r k e d in its d ry ,

u n f i re d s ta te . T h e ty p ic a l a p p r o a c h

is to d o s o m e fo rm in g w h ile th e clay

is so ft, t h e n to a l lo w it to d r y s o it

ca n b e h a n d le d safely. A t th is p o in t ,

e d g e s ca n b e s a n d e d s m o o th , h o les

ca n b e d r i l le d , t e x tu re s d e e p e n e d ,

a n d p a r ts a d d e d .

PM C™ S te r l i n g is e s p e c i a l l y

g o o d fo r c a rv in g . U se kn ives, g ra v -

e r s , o r m in ia tu r e g o u g e s to in c is e

d e s ig n s . T h e c la y c a rv e s easily , b u t

if y o u m a k e a m ista k e , s im p ly p re s s

fresh clay in to th e g ro o v e , allow it to

dry , th e n y o u can c a rv e it again .

T o jo in d r y p a r ts , d a m p e n th e m

slightly, b ru s h o n a sm all a m o u n t o f

slip , t h e n p re s s t h e p a r ts t o g e th e r .

T h e s l ip a c ts like m o r t a r b e t w e e n

b r ic k s a n d m a k e s a s m o o th j o i n t

w h e n dry .

F ir in g

PMC™ S te rlin g r e q u ir e s sp e c ia l firing b e c a u s e o f th e c o p p e r c o n te n t o f th e

a l lo y . F o r p r o p e r f ir in g y o u will n e e d a c o n t r o l l a b l e kiln , a s t e e l firin g

c o n ta in e r , a n d g ra n u le s o f a c tiv a te d c a rb o n .

STEP ONET o r e m o v e th e b in d e r a n d s ta r t th e so lid ify ing p ro c e s s , fire w o rk o n a

sh e lf in a tm o s p h e r e . This will b e fam iliar t o a n y o n e w h o has f ire d fine

silver PMC™. W h e n y o u a r e su re t h e w o rk is c o m p le te ly d ry , h e a t to

1 0 0 0 ° F (5 3 8 ° C) fo r 3 0 m in u te s , m o r e fo r th ick p ie c e s . A f te r firing, p le a s e

h a n d le v e r y th in p ie c e s w ith c a re b e c a u s e th e y can b e fragile.

STEP TWOA llow th e w o rk to c o o l so it ca n b e s a fe ly h a n d le d , th e n t r a n s f e r it to a

firin g c o n ta in e r t h a t h as a h a lf in ch (1 0 m m ) la y e r o f a c t iv a te d c a r b o n .

S e t th e p ie c e s a t le a s t %" a p a r t . S p rin k le m o r e a c tiv a te d c a rb o n o v e r th e

p i e c e s , a g a in c r e a t i n g a la y e r a b o u t a h a l f in c h d e e p ( 1 0 m m ). It is

p o s s ib le t o f ire m u l tip le p i e c e s in la y e rs , b u t d o n o t m a k e m o r e th a n

th r e e layers, a n d p r o v id e a h a lf inch o f c a rb o n in b e tw e e n e a c h layer.

C o v e r w ith a lid, h e a t to 1 5 0 0 ° F (8 1 5 ° C), a n d h o ld fo r a t le a s t 3 0 m in u te s .

W h e n firing m o r e th a n th r e e o r fo u r p ie c e s , o r w h e n th e w o rk is m o r e th a n 3

m m thick, e x te n d th e firing t im e to an h o u r o r lo n g e r . A llow th e w o rk to co o l

w h ile b u r ie d in th e c a rb o n . N o t o n ly will this p r e v e n t b u rn s , b u t it le a v e s th e

PMC™ S te rlin g a c le a n w h ite co lo r . V e n tila tio n is r e c o m m e n d e d d u r in g firing.

F in is h in g

PMC™ S te rlin g can b e filed , s a n d e d , tu m b le d , a n d p o l ish e d u sin g tra d itio n a l

je w e lry te c h n iq u e s . Filings a n d s c ra p s ca n b e s e n t fo r re fin in g ju s t like o th e r

p r e c io u s m e ta ls . U se liv er o f su lfu r o r a p r o p r ie t a r y o x id iz e r to d e v e l o p a

d a r k p a t in a . B e c a u s e PMC™ S te r l in g is t h e r e s u l t o f s i n te r e d p o w d e r s , it

d o e s n o t c r e a te fire scale .

R e h y d r a t in g

If PMC™ S te rlin g d r ie s o u t, o r if y o u

d e c i d e b e f o r e firin g t h a t y o u w a n t

t o s t a r t o v e r , g r i n d t h e c la y in to

sm all p i e c e s (a c o f f e e m ill w o r k s

w ell) a n d g ra d u a lly a d d c le a n w a te r .

Roll t h e s tiff c la y as th in as p o s s ib le

to fo rc e th e w a te r in to t h e clay.

R e p e a t , a d d i n g w a te r s p a r in g ly as

n e e d e d u n ti l t h e c la y is r e a d y to

use .

S p e c ia l T e c h n i q u e s

A rtis ts w ith a d v a n c e d m eta lsm ith in g

skills w i ll f in d t h a t PM C™ S te r l in g

w o rk s w ell w ith all t r a d i t io n a l t e c h -

n iq u e s . It ca n b e s o ld e r e d w ith a n y

g r a d e o f s ilv e r s o ld e r . It a lso inv ite s

e n a m e lin g , k e u m -b o o , s to n e s e tt in g ,

a n d p la tin g . S im p ly p u t , t h e r e is n o

t e c h n iq u e in t h e m e ta ls m ith s ' a r s e -

nal t h a t c a n n o t b e d o n e o n PMC™

Sterling.

H e a l t h a n d S a f e ty

PMC™ S te rling , like all o th e r fo rm s o f PMC™, c o n ta in s n o to x ic c h e m ic a ls . It

h as b e e n e x te n s iv e ly t e s t e d to in su re th a t t h e r e a r e n o harm fu l in g re d ie n ts .

T h o u g h ra re , it is p o s s ib le fo r s o m e in d iv id u a ls to e x p e r i e n c e skin ra sh o r

i tc h in e s s a f te r c o n ta c t . If y o u h a v e a r e a c t io n , d i s c o n t in u e u s e a n d s e e a

p h y s ic ian . W a s h h a n d s a f te r u se , d o n o t in g es t, a n d k e e p o u t o f th e re a c h o f

ch ild re n . T a k e c a re to a v o id b u rn s .

R e f e r e n c e İ n f o r m a t i o n fo r PMC™ S te rlin g (a fte r firing)

M eltin g p o in t 1 6 4 0 ° F (8 9 3 ° C ) *

T e n s ile s tre n g th 1 9 0 N /m m 2 **

B en d in g s tre n g th 1 6 0 N /m m 2 **

S u rfa ce h a rd n e s s 5 0 H V **

* F rom p u b l is h e d d a ta** R esults m a y v a ry d e p e n d in g o n firing a n d

m e a su r in g c o n d itio n s .

N O V 2011

13 PMC Connectı'onwww.PMCConnection.com 866-PMC-Clay (762-2529)

Crackle BraceletThe "Crackle" tex tu re mat, toge the r w ith the rich tones o f Liver o f Sulfur create a

beautifu l bracelt w ith clean lines and com plex colors.

Supplies

The Basics Clay O ther ToolsTeflon sheet Clay Roller/S lats Badger Balm W a te r and Brush Scalpel Baby W ipes Ruler

PMC 3 ClayO ur brace le t weighs 63g.

PMC3 Paste

Finishing"C rackle" T exture m at (SM2-CRK)

Square C u tte r Set (PCSSQ) Tissue slicing Blade (SB)

W ire Brush T um b le r/S ho t2" x2" M icro Polishing Pad (ULTPOLPAD) Drill (PVSET)Liver o f su lfu r (LOSGEL-1)

Jump RingsRound Chain Link (CH-S102053)

Step-by-Step

1) Lightly coat surface o f ro ller, hands, and tex tu re m at w ith Badger Balm.

2) Divide clay roughly in half. On portion should be slightly larger than the o ther. Starting w ith the

sm aller portion , roll it in to a ball and s ligh tly fla tte n . Lay it on the "Crackle" tex tu re m at and roll to a

thickness o f tw o slats (six cards).

P M O O o n r ı e c t i o n www.PMCConnection.com 866-PMC-Clay (762-2529)

3) Using the largest cu tte r o f the Square C utter Set, cut ou t five pieces. Set aside to dry.

4) Recondition the rem aining clay and com bine w ith your rem ain ing clay.

5) Roll the clay to a thickness o f tw o slats (six cards) - th is tim e w ith no textu re .

6) Using the tissue slicing blade, cut o u t five squares 1%" by 1%". Set these pieces aside to dry.

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7) Flip pieces over a couple o f tim es during the drying process to keep them fla t.

8) W hen all pieces are dry, w e t the center o f the plain squares and the back o f the

"Crackle" squares w ith w ater.

9) Apply PMC3 Paste to the back o f "crackle squares" and attach to the center o f

the plain squares.

10) Clean up jo in t w ith a brush and w ater. Let dry.

11) Before firing, d rill tw o holes in each side o f the squares, approxim ate ly %" apart.

12) Clean pieces and fire according to m anufacturer's d irections fo r the clay you used in the bracelet

13) A fte r firing , brush w ith the w ire brush, tum b le to harden, and shine and fin ish w ith a 2"x2" U ltra

Polish Pad.

14) W e used a very weak so lu tion o f Liver o f Sulfur to patina the squares. Quickly dip the pieces in and

ou t until the desired co lo r has been reached. Wash the pieces in clear w a te r and dry. Some co lor

change w ill stili occur.

15) A fte r bracelet has thorough ly dried, polish again as desired w ith the 2"x2" U ltra Polish Pad.

16) Join the pieces w ith heavy jum p rings and solder fo r strength. A ttach Round Chain Link chain (CH-S102053) at

each end and adjust fo r size. W e used seven links o f prem ium chain on each end o f the bracelet. Join w ith a clasp,

and if desired, dip once m ore in a weak Liver o f Sulfur so lu tion to give the findings some color.

Project Guide by Nellann Roberts ©2010 PMC Connection, Inc.

RadenCrescent Moon Pendant

Materials:650/1200 Low Fire Clay (14g), 650/1200 Low Fire Paste, 650/1200 Low Fire Syringe, mother-of-pearl inlay, small screw eye, clear UV resinTools:Spatula, post-it, tweezers, files (med. fine & fine), stainless steel brush, burnisher, paintbrushes, underlay, parchment paper, rubber block, masking tape, sponge sanding pads, plastic strips, roller, polishing cloth, polishing cream, cutter scraper, wet & dry sandpaper, craft knife, black permanent marker, pencil, UV curing lamp.

□

0 # ( 0 )

( ?(1) Cut out crescent shapes from a thick sheet (use the pattern), and then join them together to form the core.

(2) Roll out 14g of clay into 1.5mm thick pieces. Cut out the same shapes from (1). Attach the cut- out shapes onto the core

(3) Use paste to seal the joint and seams. Dry completely and then use a sponge sanding pad to smoothen the top surface area. For the bottom, use sandpaper to make a flat bottom.

(4) Draw lines on the surface with a pencil, and make grooves on the lines.

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(5) Make the indicated area lower towards the groove. Smooth the area. Set a screw on on the back with paste, dry and fire.

(6) Make the A area mirror-like finish, and B and C area to be matte- finish. Paint black on area C with a permanent marker

(7) Cut inlay into small pieces. Cover the black area with the clear UV resin and position the cut pieces. Cure the UV resin.

(8) Apply another coat of the UV resin on the inlay area and cure again. Put a chain through to complete.

RADENA Shell, especially mother-of-pear, inlay technique commonly used for lacquer-ware. The shell was usually placed directly into the wood core by cutting through the ground and setting it flush with the wood’s surface. The technique used pearl-like parts of such shells as oumugai (pearly nautilus), yakougai (turban shell, lunica marmorata), awabigai (abalone) or aogai (blue shell), chougai (pearl oyster), and shijimigai (corbicula). Shells are worn down into several thicknesses on a whetstone or grinder and cut into shapes, then pasted or inlayed on a wood or lacquered surface, and polished.The raden technique, introduced from Tang period China (7-9c) to Nara period Japan, was used with mokuga (mosaic), kohaku (amber) and taimai (tortoise shell). Taimai, also called bekkou, was used from the Nara architecture in combination with makie. Through the Kamakura period, raden was often applied to saddles. In the Muromachi period, Chinese and Korean raden ware was highly valued, and Japanese raden was influenced by them. In the Momoyama period, it was adopted into Nanban art. Hon’ami Kouetsu (1558-1637) and Ogata Kourin (1658-1716) used raden and makie techniques. Raden techniques were also used for inrou (seal case), combs and scabbards. Famous raden craftsmen include Ikushima Toushichi in the early Edo period, Aogai Choubee and Somada saiku in the middle Edo period, and Shibayama saiku in late Edo.

HKADER'saıaryWords by Claire Argyle

Lastly \vas my favouritc piccc to makc, it was a hollovv form pcndant using a silver clay syringe. It’s a bit like icing a mini cake, admittcdly I had never iced a cake so this \vas a first for me. I have suftcred from RS1 for över 4 years and this was the only part in the whole day whcrc my RSI vvantcd to remind me that it was stili there and that s because you had to hold the syringe and constantly squeeze the plunger do\vn. You can take breaks and 1 have to admit I did take two breaks but I personally think that this item was the most fun as it is verv quick and simple to do!

I have to say the shopaholic in me could have had a ficld day in Traccy's Craft\vorx cabinct but unfortunately none o f the items are for sale, she has the most amazing silver clay designs such as a turtle and an enamel dragonfly/buttcrflics earrings, 1 \vould lovc to be able to makc the turtle and the earrings but I anı afraid mine wou!d never look as good as Tracey s. □

vSlu^Y’ O A \ â

WorkshopClaire Argyle went along to enjoy a day of silver clay at the Craftworx Studio, with senior Art Clay instructor Tracey Spurgin

Iam not ver)' good at reading instructions at the best o f times, I am even worse when trying to read

instructions and drivc at the same time, meamvhile hoping that no Poliçe car is around to see me driving \vithout undue care and attention. Consequcntly, I arrived at the Craftworx studio 45 minutes late, but Tracey \vas gracious about my tardiness and I soon caught up with the rest o f the group. İn fact for a girl \vho cannot follow written instructions,1 found it quitc easy to follovv. Tracey demonstrated how to makc each pendant piccc and then you \vould try and rcplicatc her, albeit not looking anysvhcre near as professional or steady on the hand, but ifyou had any problems or ıloubts a very patient Tracey \vas on hand to ask. Tracey also told us the dos and donts o f handling the silver clay, vvhich honestly I did Üsten to, 1 just inadvertendy often forgot.

ABOVE: Hard at work in tho Crn(tworx studio RIOHT: Syringing clay to mako a hollovv form pendant BELOW: Clairo fınishlng ofl one of her clay piocos

FiddlyOn the Introduction to Silver Clay coursc, wc got to makc three pendant pieces. Ih c first was madc out o f lump clay, one half \vas tcxturcd and the other half was smooth. I decided to copy Traccy’s design ofjointed lovc hcarts bccausc 1 ligured it \vas easicr to copy a design as 1 was running late and did not have the time to come up \vith something new, plus I liked Traccy’s design.

This piccc o f jewcllcry, I felt was the most complcx and fiddly o f them all to makc, in fact the hardest bit was making the hook to fit on the back o f the charm, it took me four attempts and even then Tracey had to rcsuscitatc the last attempt. Sc» I personally think this is the hardest piccc to make because there werc a lot more parts to it and therefore more chances o f you messing something up. I could give you a step by step instruetion o f how to do it but then there wou!d bc no reason for you to go on this silver clay coursc!

beadmagazine.co.uk

Lovely LeafThe secorul pendant 1 got to make \vas a leaf pendant, which is quitc easy it just involves painting clay paste on a leaf such as a sage leaf, then using the hairdrver in-bctwccn lavers to dry the paste. The hardest thing about this is holding the stem o f the leaf \vhilst trying to blast the leaf \vith the hairdryer as your finger gets rather hot. After 7 lavers o f silver clay paste and hair drying in-bet\vcen my thumb \vas suffering from hcat exhaustion. İn fact, 1 kept asking Tracey ‘am I nearly there ye t T am 31 but acted like a 13 vear old, but Tracey has the paticnce o f a saint and you need that \vith me!

PMC User’s Guide (and Art Clay too)A Manual for Success with Precious Metal Clays and BRONZclay

W inter 2013 Edition edited by Brant Palley o f Silver-Clay.com Original Text by Tim McCreight

Silver C lay represents a dramatic development in the handling o f precious metals. Silver Clay consists o f microscopic particles o f silver or gold suspended in an organic binder to create a pliable material with a consistency similar to modeling clay.Silver Clay can be worked in the fingers and with simple tools to create a vast range o f forms and surfaces unobtainable or laborious with traditional techniques. When it is heated to a high temperature, the binder burns away and the metal particles fuse to form solid metal that can be sanded, soldered, colored and polished like conventional material. This booklet describes some o f the techniques devised for Precious Metal Clay (PMC) and Art Clay, and will guide you through your first firing experience.

W hat Is It?Precious Metal Clay is a patented material developed by Mitsubishi Materials Corporation o f Japan in the early 1990s.The principle ingredient in PMC is tiny metal particles only 20 microns in diameter. As a point o f reference, it would take as

many as 25 o f these particles to make up a single grain o f table salt. The rest o f the material consists of water and an organic (naturally occurring) binder. After firing, both the water and binder have been completely removed, so PMC may be hallmarked and will assay as .999 pure. Dried-out PMC or unwanted fired objects can be refined just like conventional precious metal.

The firing process leaves a metal that is less dense than conventional sheet or wire. This means that a piece o f jewelry made o f PMC is lighter than the same piece made by fabrication or casting. Because it is less dense, PMC is not recommended for

applications that require high tensile strength such as findings. PMC is available in two versions: standard PMC, which provides the best modeling and greater shrinkage characteristics; and PMC+, which is denser, has less shrinkage and offers several firing options. Three years after introducing PMC, Mitsubishi Materials Corporation developed a second version, called PMC+. Both kinds o f clay are worked with the same tools, fired in the same kiln, and can be finished in exactly the same way. Everything in this book applies equally to both versions, with two exceptions: PMC+ has a different firing schedule, and it shrinks less.ToolsYou can use PMC just about anywhere, but a stable, well-lit area is best. A table or desk is ideal. A sheet of plastic or a kitchenware lid makes a convenient work surface that allows you to rotate the work easily. Avoid using cardboard because it will draw water out of the clay and stiffen it. For this same reason, avoid working in a draft from a heater, air conditioner or fan. A thin film of olive oil on the fingers prevents the PMC from sticking to the skin and seals its surface against dehydration. Other useful tools are a plastic rolling pin (such as a piece of PVC pipe), a razor knife and a small burnisher. Various pencil-like tools can be devised from toothpicks, skewers, chopsticks, popsicle sticks and scribes. You might find yourself collecting bits of fabric, plastic and wood to take advantage of PMC’s wonderful ability to pick up textures.

KilnsPMC can be fıred in any fumace that will sustain the required temperature with reasonable stability. Almost any kiln with a pyrometer, like those used for bumout or enameling, will work.The kiln should be located away from combustible surfaces and plugged into a properly wired socket so that its cord cannot be snagged or tripped över. It’s helpful to have work gloves, long- handled tongs and a heat-resistant surface like a brick in front of the kiln to set work on when it comes out of the kiln. Silver-Clay.com selis a programmable kiln that maintains a selected temperature for a set length of time, then shuts off automatically. Though not essential for success with PMC, this unit is designed specifically for silver clay and makes the firing process as foolproof as the modeling. Paragon’s SC-2 will also fire Glass, enamels, ceramics and more!ShrinkageWhen PMC is fired, the water and binder vaporize and disappear completely. Because these together make up about 30% of the original PMC, the object after firing is reduced to about 70% of its original size. This offers exciting possibilities because the shrinkage is proportionate. All the images, textures and details you create in the clay original will be retained in the final version—only smaller! This is a little like using the reduction button on a photocopier and nearly as easy. PMC+ has a higher metal content. Fired PMC3 & PMC+ pieces are 88% of the original size.

Basic FormingBefore handling PMC, put a couple drops of olive oil in your palm and rub your hands together to cover them with a thin film. This prevents the clay from sticking and seals the surface of the material to inhibit dehydration. Unwrap the PMC, pinch off what you need for the next couple minutes and rewrap the rest to prevent it from drying out. Precious Metal Clay is sold ready to use and does not need wedging or other preparation.Making SheetsSheets of PMC can be made by ”patting out” a wafer, but a more uniform result can be made with a rolling pin. Any cylindrical objects will do—a section of plastic pipe about an inch in diameter and 6-8 inches long is a convenient size. Sandwiching the clay between layers of plastic wrap or a plastic bag during this process slows drying and makes it easy to lift the sheet off the table. To create a sheet of specific thickness, run the roller along spacers set up on either side of the lump as shown. These can be of plastic, metal, wood or mat board. It’s handy to have several thicknesses, or try stacking them for greater variety. Strips, bars and square wire are made by slicing pieces from the sheet with a razor knife.Making WireTo make a round wire, roll a lump of PMC in the palms of your hands to form a thick ”snake.” To reduce further, set the clay on a smooth, flat surface and roll it under a flattened palm as shown. You’ll quickly discover the appropriate pressure and motion to create wires and tapers to suit your needs.

Technical Fact SheetWhat is the Difference? Why sixproducts? Do I need all 6?Each version has its unique benefits:PMC Original has ideal workability and a relatively high shrinkage that allows wonderful detail.PMC+ and A rt Clay fire very quickly and result in a dense and durable material. they also allow for firing at three different temperatures, the lowest of which makes certain implants and enamels possible.PMC3 and ArtClay650 and A rt Clay Slow Dry 650 fire at an even lower temperature (1110 F and 1200 for artclay650) which allows sterling and stainless findings to be imbedded. Alternative, low tech firing devices become possible like stove top firing.Not every artist will need all three versions. Some people find a preference and stick with it, while others use different materials depending on the nature of their work.How do they do It? In the end is it all silver?

Yes, all three versions yield the same metal, 100% silver. The difference is not in the ingredients but in the shape of the particles. Original PMC is made with flake like particles that allow room for the binder, which gives the material its workability. PMC+ is made with a particle with more neatly defined edges. This allows for quicker fusing and a denser material. Notice that the spaces between particles are smaller - this will result in more durable jewelry. The newest member of the team, PMC3, uses particles that are even smaller than the silver dust used in the other versions. The denser packing allows this material to fuse at a lower temperature.

Practical Comparisons: Everyone's experience will differ and there is no substitute for your own experimentation. Here Is the relevant information side by side. along with some general recommendations. The choice of which version of PMC to use will be determined by your work habits, the firing equipment available and the time available.

PMC PMC+ PMC3 Artclay

Workability excellent slightly stiff excellent excellent

Shrinkage 25-30% 10-15% 10-15% 8%

Firing Temp. & Time

1650 for 2 hours 1650 for 10 min.

1290 for 10 min.

780/1435o F and above - hold time 5 minutes - (not to exceed 900/1650o F)

1560 for 20 min.

1200 for 20 min.

700/1290o F - hold time 15 minutes

1470 for 30 min.

1110 for 30 min 650/1200 o F - hold time 30 minutes

Strength pretty good very good very good very good

Available types Clay Clay ClaySyringeslip-paste

ClaySyringeslip-paste

Uses pendantsbroochescharmsbeads

ringspendantsbracelets

ringscharmspendantsbracelets

ringscharmspendantsbracelets

F o r m ax im u m streng th fire at 1600-1650F fo r tw o hours.

Gold Clay and Gold overlay

Gold ClayThis 22 karat material is an alloy of 91.7% gold and 8.3% silver, refined into microscopic particles that fuse at relatively low temperatures. This unique combination provides rich yellow color and unusual strength. PMC Gold can be used alone, or as a decorative element on silver items. Consider these possibilities: Co-fire silver and gold PMC side by side Layer silver and gold to make precious metal wood grain pattems Solder or fuse PMC Gold elements to fabricated and cast items As with silver PMC, you can rehydrate with clean water, and make your own slip from sanding dust. Because Gold PMC has the working properties of PMC3, we suggest that newcomers test ideas in that material.

W orking with PMC GoldArtists who have used other versions of PMC before will find that the gold is slightly denser. This will make it feel a little stiffer, and explains why it will take longer for water to penetrate. Before using, knead the material while it is still in its plastic wrapping to loosen the structure. Add small amounts of water to compensate for drying during working, but be conservative. Seal unused material to retain moisture. Use wood, plastic, rubber, and steel tools. Finishing is done just like any precious metal, including abrasives, tumbling, hand burnishing, and polishing compounds. PMC Gold can be soldered with any gold solder below 22 karat.Firing PMC GoldAs with other metal clays, allow the work to dry, preferably overnight. Drying may be hastened with moderate heat. The recommended firing apparatus is a programmable electric kiln, which provides dependable control. Schedule A: 900° C (1650° F) at least 10 minutes Schedule B: 850° C (1560° F) at least 30 minutes Schedule C: 750° C (1380° F) at least 60 minutes Schedule D: 700° C (1290° F) at least 90 minutes

NMCLAY 3300 Girard Blvd NE Albuquerque NM 87107 800-781-2529 505-881-2350 Fax 505-881-6067 Torch Firing. It is also possible to fire PMC Gold with any jewelers torch. Dry completely, set work on a soldering pad, and bring to a red glow. Hold at this temperature for at least two minutes.A rt Clay Gold 22KINGREDIENTS: 95% of indicated weight is K22 (Gold 91.7%, Silver 8.3 %). After firing: K22 100% FIRING TEMPERATURE / HOLDİNG TIME: 1814°F for 60 min. MELTING POINT: 1931°F To join Art Clay Gold together or to mend a jointed area, use Art Clay Gold in paste form, which can be made as follows: Put Art Clay Gold in a small plate Add a few drops of water and blend it evenly with something like a spatula. Shape as you wish using your fingers, a mold, etc. If Art Clay Gold becomes stiff to handle, place it in a zip loc bag, add a few drops of water, and knead it until it becomes soft. Note: Remember that the finished piece shrinks 15%, so size your piece accordingly. Place the piece in the kiln. (If you are firing more than two pieces, make sure the pieces are not touching each other) Temperature1814°F Holding Time 60 min.How do you fire A rt Clay Silver and Gold clay together?The best way to make a combination piece is first to make the gold element, then fire it at 1860F for 60 minutes. This completely sinters the gold. Then build the Art Clay Silver around the gold element, using any of the three forms of Art Clay Silver. Then fire again at 1600F for 10 minutes. The gold and silver piece shown in the picture gallery was made in this manner.

G o ld overlay

Aura22 and Accent gold for silver are new products used to add gold accents to fired, unfinished silver clay. Follow the instructions for each product carefully. Gold can be torch fired. One gram covers about 1” x 1.5”. Complete instructions can be downloaded from www.nmclay.com

Accent gold for silver (AGS)consists of one gram of pure, 24 K gold powder dispersed in a non-toxic water based liquid medium. It is used to apply gold accent layers to fine silver jewelry articles, including those prepared from silver clay. Accent Gold for Silver™ paint is used by applying it with either a brush or a knife tip to a silver piece, drying, and then heating the piece to bond the gold powder to itself and the silver. After cooling, the gold layer is burnished and the desired final finish is applied

Aura22 is tiny particles of pure gold (91.6%) are blended with 8.4% fine silver particles to create a precious metal with deep yellow color and the ability to fuse to silver at relatively low temperatures.The result is a layer of gold that is considerably thicker than possible with electroplating.

Gold Foil for Keum-BoThe Process: Put the work onto a hotplate and turn it up to High. To test the heat of the PMC object, touch a toothpick to it. When the wood chars, the metal is hot enough that the fusing process has begun. At this point, secure the object with one hand as you lightly press the foil or Aura 22 down against the silver. The goal of this step is to press out microscopic gaps that exist between the silver base and the gold layer. When the two pure metals are in perfect contact, bonding is instant. Generally, start with a light stroke, then rotate the piece and follow up with firm-er pressure using strokes that run in a different direction from the first. You will notice that the burnisher leaves marks; these will be removed by polishing after the layers are bonded. If the color is weak, or if you have changed your idea for the piece and want to cover a larger area, you can add on additional gold and repeat the process. It is also possible to combine traditional keum-boo and Aura 22 on a single piece.

Basic Forming TechniquesTexturesOne of the exciting qualities of PMC is its ability to capture impressions. In most cases the clay is simply pressed against the textured object or the object is pressed into the clay. Textures with deep undercuts should be avoided because they will tear out when the clay is being pulled away. If for some reason the clay sticks to the texture, try laying a piece of plastic wrap over the texture first. If the texture is too delicate for this solution try spraying the texture with a tlıin film of cooking spray (e.g. PAM®). Remember that some textured items can be burned away in the firing process. As an example, it might be easiest to press a leaf into PMC and simply leave it there when the piece is set into the kiln. All that will remain of the leaf after sintering is a fine ash that can be easily brushed away.

Overlays & Joints In many cases, connections can be made by overlapping pieces of PMC.Often the pieces are simply layered into position and lightly pressed together. If the clay is starting to dry, add a tiny drop of water with a brush at the edge of the overlay. When a situation offers less contact, dampen the two surfaces to be connected with a drop of water and texture them with fine lines

NMCLAY 3300 Girard Blvd NE Albuquerque NM 87107 800-781-2529 505-881-2350 Fax 505-881-6067 using a blade or point. Press the pieces firmly together and rub the surface to hide the seam. This process can be used on rods and on the edges of sheets.

r r \

B

Carving A variation of the usual way of working PMC involves creating a form that is then carved to achieve crisp detail. Dry the form in a medium oven (250°F) for at least 10 minutes, then allow it to air-cool. The material will be “leather hard” and can be worked with carving tools and burnishers.

Refiring & Repair Precious Metal Clay can be refired several times with no problem.Because of this, the clay can be used to make repairs on other PMC objects and in other heat- tolerant materials as well. If a joint fails, press fresh PMC onto the cleaned surface and refire to create a new joint.

PMC & Other MaterialsItems that can withstand the temperatures required for fusing can be permanently attached to PMC work by simply pressing them into the soft clay. In most cases the natural shrinkage o f the process acts to clutch the embedded objects, securing them into position. Common sense and experimentation will be helpful here, but remember these guidelines:

1. The materials must remain unharmed at the temperatures used.2. The embedded object must be clean; impurities will compromise the bond with the clay.3. Wherever possible, arrange a mechanical grip to supplement the fusion o f metal to metal. For instance, if a panel o f gold was

being pressed into a silver sheet, the edges o f the panel should be angled to allow the shrinkage o f the clay to press down on and “capture” the plate. Copper and brass can be mechanically bonded to PMC like this but will not fuse because o f the oxide films they produce when heated.

4. Many embedded materials are damaged by rapid cooling, so allow the finished piece to air-cool after sintering.

For Embedding into PMCDo Use Don’t Use

Cubic Zirconia PearlsSynthetic Ruby Opals

Synthetic Sapphire Bone, ShellHigh-Fired Ceramics W ood

Enamel Powder Most Glass except with PMC3 or ACS650

HotPot Kiln for PMC3 or A rt Clay 650 only.

PMC Kiln Paragon SC-2

Firing shrinkage, density and hardness all increase with time and

temperature. That is to say, if you “short fire” PMC you will make it weaker. The longer the firing process the denser the metal, achieving maximum at the durations shown below. Firing at temperatures above these risks melting the material—it’s real metal and will melt just like conventional metal when heated to its melting point. Pieces may be fired any time after they are made, though pieces with widely varying cross sections should be dried slowly to prevent cracking. Flat pieces are laid directly on a kiln shelf, fire brick or clean soldering pad and set directly into the kiln. Work can be very close together as long as the pieces don’t touch each other. Contoured or hollow pieces require a little more care to ensure that they don’t slump or collapse during the process. Support these forms on vermiculite, plaster or alumina hydrate powder available from Silver-Clay.com . It can be reused almost indefinitely so a pound should be enough for most studios. a terra-cotta flowerpot or saucer are used to contain the alumina when firing large fonns.

Steps in Firing1. Set the completed PMC object on a heatable tile, cradling it in a bed of alumina hydrate if the

form is other than flat Set the tile into the kiln on bits of brick that lift it off the floor, facilitating both heating and removal of the object.

2. Program and start the kiln or, if firing manually, turn it to a high setting. PMC does not need to be vented, though when other materials are included (like cores), ventilation may be necessary.

3. If you have a manual machine: When the pyrometer indicates that the correct temperature has been reached, turn the dial back slightly to ensure that the temperature does not go higher.Check the clock and maintain this temperature for the recommended time. There is no disadvantage in heating the work longer. When many pieces or a sagger box is used, a longer time is recommended to ensure complete fusion.

4. When the time has passed, turn off the kiln. Silver PMC pieces will look white, and gold work will be an orange-brown; neither will look metallic yet. The work can be quenched in water for immediate inspection unless stones or other nonmetal embedded objects have been used,

NMCLAY 3300 Girard Blvd NE Albuquerque NM 87107 800-781-2529 505-881-2350 Fax 505-881-6067 in which case the work should be air-cooled.

Torch Firing PMC+ and PMC3 by Tim McCreight

For the record, it has always been possible to fire PMC with a torch. The hard part was finding someone to hold a torch for two hours! With the creation of PMC+ torch firing became a viable option. As we know, PMC+ is converted into solid silver when heated to 1650° F (900° C) for 10 minutes. At this temperature, even at a few minutes less we can make solid silver jewelry. Jewelers use a variety of torches, all of which deliver more heat than is needed to fire PMC. People with experience in metalwork and a good idea for heat colors will be able to fire PMC+ with any traditional torch. If a person is buying a torch specifically to fire PMC+, a butane torch like the Blazer makes a good choice. These compact torches are relatively inexpensive ($13-60). In fact I even saw one at a kitchen supply company where it was sold to caramelize creme brûlee. The torches are sold empty and filled (and refilled as needed) from a can of butane that can be bought from the same suppliers, grocery stores or tobacconists. Note that the standard torch is rated at 2000° F so it can melt PMC. Torch Firing Process

1. Allow the work to dry overnight or drive off moisture with a hairdryer, coffee warmer or in a slow oven. Torch firing is not recommended for large items.

2. Place the work on a soldering block or fire brick, which is in turn set on either a fireproof surface or something that can be singed (like a piece of plywood). If you are working on the kitchen counter and the piece rolls off the block you don't want to scar the countertop.

3. Light the torch and hold it so the flame is nearly vertical with the tip of the cone about 3/4" away from the work.Within a minute the piece will be enveloped in a soft flame as the binder burns away. The flame will soon go out by itself. Within another minute the piece will start to glow red. Continue heating until this becomes a bright and luminous color. At this point, glance at a clock.

4. Hold this color as uniformly as possible for at least 5 minutes (10 minutes will produce a denser result) glancing away periodically to relieve your eyes. When the time is up, turn off the torch and allow the piece to cool at least until the red color is gone, at which point it can be quenched.

Educate Yourself

Here's a test I recommend to anyone who intends to fire with a torch. It takes a few minutes and requires the investment of a dollar or two in PMC, but it will go a long way toward understanding the process and building confidence. Pull off a peanut-sized bit of PMC+, split it in half, and roll out two small rods. Follow the instructions above with one added step. After the complete cycle, move the rods apart on the brick so you can focus on one of them. Concentrate the flame on this rod in an effort to melt it, which might be possible even with the regulated torch. You'll see a bright mercury-like skin form on the piece and the red color will become even brighter. The edges will start to curl and the PMC will be drawn up into a ball. Make a mental note of what you saw and this way you'll know the signs of melting so you can withdraw the torch in time before damaging a piece you care about. To complete the experiment, allow the other rod to cool and test it by bending, filing, burnishing and polishing. This will confirm that, sure enough, torch firing really works!

Gas Stove Top FiringPosition a stainless steel mesh over the gas burner, turn on the burner and note where the mesh glows red the brightest, that’s where you will put your small dry piece.Turn off the burner and place the PMC3 or Art Clay 650 piece on that spot that glowed the brightest.Turn on the burner LOW and watch for the binder burning out (smoke).When the smoking stops turn up the burner until the silver clay turns red (turn off the lights to see it better).Set the stove’s timer for 10 minutes.Be Careful the mesh and silver is HOT! Cool as normal.Make sure the silver clay is as dry as possible. D on’t try this with very large thick pieces or large stones. I f the silver clay glows bright orange turn the stove down.

How To fire Silver-Clay in a cone sitter kiln.Low fire clay fires to 1200 F which corresponds to cone 019-020, the highest recommended firing temperature of all

silver is 1650F or cone 010-011. Ceramic kilns fire much slower than jewelry kilns so the actual hold time is not too important. For PMC3 or Art Clay 650 fast fire to cone 017 no hold time needed. (Fire on High until the cone turns off). let cool as long as you can wait. For regular art clay or PMC+ use cone 014. 011 is the hottest possible cone for the most durable item. (Actually if your rate is 585F in the last 200 degrees then cone 020 works out to 1201F if you want to get technical) but we need a no hold time temp to fire to. Don’t try to fire PMC original if you have no way to hold for 2 hours. Place the silver-clay on a kiln washed shelf right under the cone setter. That way the cone is measuring the temp right at

NMCLAY 3300 Girard Blvd NE Albuquerque NM 87107 800-781-2529 505-881-2350 Fax 505-881-6067 the silver-clay. All of these suggestions relate to computerized kilns too if you can’t figure out the ramp and hold programming. Don’t worry about the cost of firing a large kiln it is about $1.00 per hour. Place the Silver-Clay near the cone sitter or thermocouple, on a shelf, use Alumina Hydrate to support the piece if it seems like it needs it.

Hollow Forms Precious Metal Clay lends itself to the creation of hollow forms such as beads, cups and large pendants. A core is created of a material that will burn away, and the clay is built up and modeled around it. During heating the combustible core literally “goes up in smoke,” which passes safely through the pores of the still-forming metal. This allows completely enclosed forms to be made. Cores can be made Cork Clay or Paper Clay. Ventilation will be required because an unpleasant odor and dangerous fumes are likely to result.

Steps in Making a Hollow Form1. Create a form from a combustible material. Its size and shape will determine

the interior space of the silver piece before shrinkage. This core can be made by molding or carving, depending on the material.

2. Roll out sheets or wires of PMC and press these onto the core. If the clay doesn’t adhere to the core, coat it with wax by dipping the core into a cup of molten wax. The PMC is then modeled, carved and textured as described previously.

3. Set the form on a bed of alumina, using a sagger box for larger forms as needed and heat in the usual way. When the firing is complete the pieces may be finished as usual.

Hollow-core bead Open-work beads can be formed on a core that burns away

FinishingPMC can be^ soldered • tumbled • sandblasted • wire-brushed • enameled • polished • plated • patinated • left as fired • burnished • pickled

Soldering As mentioned, PMC is metallurgically just like other metals but structurally a little more porous. It can be joined by using the same flux, hard solder and torches as silver and gold, but because of its porosity, PMC will “soak up” solder. When possible, prepare an area to be soldered by burnishing to close the pores and reduce the tendency to absorb solder. Even then it’s important to use a delicate hand with the torch, removing the heat as soon as solder starts to flow. Of course even in conventional metal, fine silver and gold behave a little differently than their more familiar alloys, so care and attention is recommended when first soldering Precious Metal Clay. Because of its porosity, PMC objects can retain pickle unless they are thoroughly rinsed. Neutralize the acid by boiling the pieces in a dilute solution of baking soda and water or by cleaning them in an ultrasonic machine for about 15 minutes. Perhaps the most obvious option for finishing is to leave the PMC with the finish achieved in the kiln. In a piece that will be rubbed during wear such as a ring, the raised areas will be burnished naturally while the recesses remain white (silver) or yellow (gold). To polish to a high shine, the metal should be burnished, either by hand or through mechanical polishing. Magnetic polishers, in which small rods and spheres of steel are tossed against work by rotating magnets are ideal because of their speed and ability to polish without damaging the surface. To burnish by hand, use a steel burnisher to rub the surface smooth. After washing with soap and water, the final polish is achieved with very fine sandpaper or by tumbling . Silver PMC can be oxidized with liver of sulfur or a proprietary colorant just like conventional metals. Pure gold does not tarnish.

Silver-Clay & Ceram ic TechniquesSilver-Clay offers exciting possibilities for combining metal and clay in ways that have never been possible before. The huge range of clay bodies, firing atmospheres and glazes make this a vast area for experimentation.Here are a few suggestions:Paint a bead or small bisque figure with Silver-Clay slip, fire and polish! Use Art Clay Overlay paste to decorate on top of a fired glaze or porcelain bisque. See Silver-clay.com or nmclay.com fo r silver overlay paste and book Slip PMC can be mixed with water to create a thin paste that can be painted, cast and dipped. It is a convenient material for repairing cracks in drying PMC, and is recommended to reinforce joints. A “slip jar” makes a practical way to reuse PMC crumbs; drop them into a jar and add a couple drops of water at the end of each working session. This way you’ll have some slip ready when you need it. PMC slip can be cast into a plaster mold but the mold must be sealed to prevent the PMC from sticking. To dip cores into PMC, secure a wax-covered core to a thin wire and lower it into a thin slip. Allow this layer to dry and redip as needed to achieve the desired thickness of PMC. A similar effect can be achieved by painting the thinned clay onto a form or delicate texture.Overlay Conventional stoneware clay can be pressed into PMC either before or after the Precious Metal Clay has been fired. The two materials will often fuse, but a mechanical grip is recommended to ensure a strong bond. PMC offers

NMCLAY 3300 Girard Blvd NE Albuquerque NM 87107 800-781-2529 505-881-2350 Fax 505-881-6067 possibilities for metal inserts or repairs in previously fired ceramic ware, subject of course to allowable firing temperatures.

You can throw PMC on a potter’s wheel

ThrowingPMC can be thrown on a potter’ s wheel just like earthen clay and will create a vessel with

all the finger marks and textures characteristic of ceramic ware. It is also possible to attach PMC elements to a bisqued ceramic piece to create precious metal details such as rims, medallions and handles.Storage & Shelf LifeYou’ll notice that your Precious Metal Clay arrived wrapped in plastic film and sealed in a box to keep it fresh. Don’t expose the clay to air until you’re ready to use it, and then only

pinch off what you can use in a couple of minutes. For long-term storage, set your boxes of PMC in a zipper-locked plastic bag with a small bit of dampened paper towel. Kept this way, PMC can be used as much as a year after purchase. Left exposed, it will harden overnight. A word about the date stamp you’ll see on the package: PMC does not “go bad” after the stamped date, but this allows you to rotate your stock intelligently. Once hard, it’s possible to restore the clay to its pliable state, but it’s difficult to make it quite as smooth as when new. To rejuvenate dry clay, make numerous cuts into the block or pierce it repeatedly with a needle, then submerge the lump in water for a few seconds. Wrap the wet lump in plastic, allow the clay to absorb the water for a couple of hours, then knead the lump through the plastic. Regardless of the consistency of PMC, its metal content is unchanged and can be retrieved through traditional refining techniques.Health & SafetyPrecious Metal Clay has been certified by an independent testing facility to be safe in every phase of its use and to conform to ASTM D4236. Issues of safety arise not from PMC, but in the normal use of the high-temperature furnaces used in the sintering process. These kilns should be positioned on a stable surface, away from combustible materials. Never leave a kiln unattended and take special care if animals or young children are in the area. As always, when working around heat, wear appropriate clothing, avoiding clothes made of synthetic fabrics. There is little reason to stare into the kiln, but if you need to do this, protective lenses should be worn.

PMC GuildFounded in 1999, the PMC Guild is an educational and support organization created to help PMC users, researchers, teachers and artists. The guild operates a website at www.PMCguild.com, sponsors a nationwide Certification Program, and provides resource materials and technical support.Membership is open to all

BUY Silver Clay Now! Call New M exico Clay at 1-800 781-2529 or log on to www.nm clay.com or www.silver-clay.com

Silver-Clay Precious Metal Clay (PMC)PMC+ and PMC3 represent a dramatic development in the handling of precious metals. PMC consists of microscopic particles of silver or gold suspended in an organic binder to create a pliable material with a consistency similar to modeling clay. PMC can be worked in the fingers and with simple tools to create a vast range of forms and surfaces unobtainable or laborious with traditional techniques. When it is heated to a high temperature, the binder burns away and the metal particles fuse to form solid metal that can be sanded, soldered, colored and polished like conventional material. See www.silver- clay.com for detailed instructions.

PMC S tarter Kit includes 25 grams PMC3 Clay, 15 grams of slip, 9 gram syringe, CeCe Wires book, polishing brush, tool kit, Two 4mm CZ gems and a firing grate for easy firing.

A rt Clay Silver Kit, Get Started! Everything you need to get started making, firing, and polishing NEW Art Clay Silver 650. Includes 20grams of Clay, 10g paste and syringe, two instruction books, a firing grate, brass brush, and two 4mm CZ's. With this kit you will get a good start on your new adventure!

Allprices subject to change PMC Prices change dailv according to the price of Silver And Gold click here for today’s price

Art Clay silver is another brand of silver-clay, just as good, click here for todav’s Art-clav price ACS has some different types of products like Slow-Dry and Overlay Paste

All Kilns are By Paragon. We will ship from New Mexico or from Dallas Texas area. All Kilns feature a fiber muffle and 3 button digital controller. Call or check the web site http://www.nmclay.com for discounted kiln prices!

Gems listed below come in three types, Round stones you can fire, Cabs that you don’t fire,Other strange stones click here to see more.

Your Guide to BRONZCLAYBronzClay and COPPRclay is easily sculpted, molded, carved and formed, and becomes solid bronze when fired. Your imagination and just a few simple tools will allow you to create solid bronze pieces-jewelry to sculptures and everything in between!W orking with BronzClayBronzClay is just that: a clay. Like clay, it's highly workable but it also dries quickly. You'll notice the clay stiffening and cracking when it begins to dry. Some tips to keep in mind: While working the clay, refresh it periodically with a small amount of water using a spray bottle or brush. Wrap pieces that you are not currently working on in plastic and place to the side. Avoid using tools that absorb water. When not in use, keep the clay tightly wrapped in plastic and place the wrapped piece in a sealed plastic bag for added protection. Store all unopened packages (as well as opened packages) of Note: After prolonged exposure to air BronzClay will develop a black surface. Scrape away this black layer until you reach the useable clay, which will be unaffected and ready to use.Making Slip : Slip will quickly become one of your favorite tools for working with BronzClayTM, and it's easy to make. Simply mix tiny pieces of clay (filings, small dried or wet pieces, etc.) with water (we recommend distilled water for a longer shelf-life) until you reach a yogurt consistency. Keep your slip stored in a sealed container. Note: Slip will last for about one week, so make only enough for your immediate need.Drying the Clay : Once you've finished your piece, you will need to dry the clay before firing it. Gently place the piece on a warming surface such as a coffee mug warmer or the top of a kiln. Once dry, you'll notice the clay is leather hard, making it very easy to add finishing touches such as filing, drilling, sanding and carving. Once BronzClay is fired, it's much more difficult to finish, so take advantage of this pre-fired stage to do as much of your detailed finishing work as possible.FiringTo reduce oxidation, the piece(s) must be surrounded by activated carbon during firing. Firing BRONZclay is a two-step process that uses low heat to prepare the kiln's atmosphere, then high heat to sinter the alloy.1. Spread 1" of activated carbon granules on the bottom of a stainless steel firing container.2. Place the piece on top of the layer; if firing two or more pieces, leave at least ^ ” between pieces, more if the pieces are large.3. Pour more activated carbon granules on top of the pieces until the container is full, making sure there is a 1/2" layer of granules on top of the pieces. Again, if you are firing many pieces in layers, make sure there is at least 1/2" of space between the vertical layers as well.4. Put the stainless steel lid on the firing container and place it in the kiln on stilts to allow good heat circulation. Note:Most kilns are cooler in the front near the door, so the front of your firing container will be cooler than the other sides. Compensate for this by placing the pieces closer to the sides and back of the firing container. If you have a top-loading kiln, there's no need to adjust.Firing Thin Pieces: pieces that are 6 cards thickor less, fire according to the following program: Ramp at 500°F/hour to 1550°F, and hold for 2 hours. Total firing time (including warm-up) will be between 4 and 5 hours.Firing Thick Pieces: For pieces that are thicker than 6 cards (3mm), fire according to the following program (this firing schedule will also work for thin pieces):Ramp at 250°F/hour to 1550 F and hold for 3 hours. Total firing time (including warm-up) will be about 9 hours.Firing Fastfire BRONZclay Ramp at full speed to 1525°F, and hold for 2 hours.Finishing : Once fired, the BronzClayTM piece is a solid piece of metal. As with other metals, it can be sawn, drilled, sanded, patinated or soldered using traditional jewelry tools and materials. Keep in mind that many finishing techniques will be easier“ to perform at the dried, pre-fired stage.“

• Q uan tity P ric in g A v a ilab le See B ase M etal c lays P rices• T oo ls fo r th e m etal• T oo ls fo r th e clay

Silver Overlay PendantTools and MaterialsACS650 Low FireSlovv Dry (10g), ACS syringe (1 Og), Empty Syringe for Slow Dry Clay,ACS O verlay S ilve r Paste, Glazed Porcelain Cabochon, Denatured Alcohol, Carbon Paper, Sharpened Dowel, Stainless Steel Brush, Agate Burnisher, Flay Scew Eye, Snap-on Pendant Bail, Sterling Chain, Paintbrush, Flower Design, Teflon Coated VVorksurface, Pencil.

ODravv the outline of a glazed porcelain cab onto a piece of paper. Remove cab and cover wıth the Teflon-coated sheet Secure with tape to a work surface.

© Press the flat screvv eye into the top of the doııble rope. Cover with syringe and smooth area with a damp brush. Place the porcelain cab över the rope

Place a small piece of carbon paper onto the surface of the cab. Place the pattern över the carbon paper Trace över the design using a Sharp pencil

Knead 5 grams of Slow Dry and extrude as in step 2. Again. cut the rope into 2 pieces and create a tvvisted rope Apply a small amt of Syringe Type to the base area and smooth with a damp brush Place the tvvisted rope as shown. Dry completely

©Clean the surface of the porcelain cab with denatured alcohol. Dilute a small amt. of Overlay Paste to the consistency of milk Apply one layer evenly över the cab Dry completely and cool to room temperature.

©Remove the pattern and carbon paper Scratch off the lines and all areas not part of the design vvith a sharpened dowel. Return all pieces of unused Overlay Paste into jar. Remove all residue of paste & fire at 1200 degrees F. for 30 minutes. When cycle is complete. cool kiln to

below 300 degrees before removing

Cut into 2 pieces to form a double rope. Pleace the double rope on the paper with one of the ropes on the inside of the line and one on the outside of the line. Make sure that seams are on opposite sides.

Use a stainless steel brush and then polish the piece vvith an agate burnisher. Add the snap-on bail & Chain to complete the project

Knead 5 gms Slow Dry, roll the day into a snake small enough to fit into the syringe Moisten the inside of the syringe and the rope. Drop the clay into the syringe and use end of paper dip to remove air pockets. Extrude all the Slovv

one long rope.

Simple Bypass Ring Using PMC+ or PMC 3by Jeanette Landenwitch

The purpose of this project

> to make a simple ring> to learn to size in ranges

PMC+ and PMC 3 are used for this project because of the ir strength after firing.

1 Roll out a sheet o f PMC that is 5 cards thick. Cut a strip%” to 3/8” wide, and long enough to wrap around the finger w ith some left over. Here are some suggested lengths:

> Ring sizes 7, 8, and 9 3 3/s" long> Ring sizes 5, 6, and 7 3 '/s" long> Ring sizes 3, 4, and 5 2 7/s" long

2 Texture it, o r leave it plain. Let it dry.Sand the rough edges.

3 Fire the ring at I650°F (900° C) for tw o hours. This achievesthe maximum strength o f the PMC.

4 A fte r firing, carefully shape and size the ring around a mandrelo r dowel. Position the mid-point o f the ring on the mandrel and place it at a slight angle. Bend the ring %" at a time until you’ve worked all the way around. Offset the ends into a bypass design.

5 Tumble to a high shine. This also w ork hardensthe PMC fo r additional strength. Oxidize, o r leave as is.

This project is an excerpt from pravidedby Creating with Precious M eta l Clay, by IjlfiM

Jeanette Landenwitch ©2002 l /V ı r ı r.1m c