Art Clay Si̇lver General Informati̇on

September 21, 2017 | Author: Semra Akkaya | Category: Paint, Allergy, Ammonia, Personal Protective Equipment, Materials
Share Embed Donate


Short Description

thank you...

Description

Combine resin & silver dav! Make a stylish in 12* ’

NEW!

Add colour to your silver clay w ith our exclusive ceramic decal technigue

ADVAN CED PROJECT

MATERIALS

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

»■ 5 0 q A rt Clay Silver m- S oller w I.5m m & im m spacer bars m- B a d g e r ö a lm

* . Cushion te m p la te « C lay pick * Leaf te xtu re p la le w M ouJd ing co m p O L n d

•» B u ü o n o f a Iree * U V c o lo u re d re s in s » U V liq h t box

T

racey is a senior A r i C lay

e- Silver chain

in s tru c to r w ı(h m o re ıhar»

« Ju m p rin g s

ten years te ach ing experience,

de lıve rin g courses and u'ûrkshops w ılh passion a n d e n th u s ia s n ı. T h is pendant sıarts ıviıh a sim ple m o u ld in g o f ıh e tree a rıd ıh en adAs a fram c to capture the glorious colours o f a red sky w iıh th e fin a] deıails o f falling leaves to ca p tu re the essence o f aucum n.

desiqnertips: *

S m a lle r fra m e s m ake g re a l c h a r m s

Iû m ake in to a b ra celet =. Leaves on th e ir ow n make good e a rring s

STEPİ

STEP 1

STEP 2

STEP 2

This but ton of a Ire e m akes

Prepare the clay to a sof t outty State

a p e d e c t le a lu re tor Ihıs pendant.

by massaging a little water into ît.

Using two part silıcone mouldirıg

This vvill help to ease the clay into

com pound, lake egual am ou nts ol

the detaıl o l the mould. Use vûur

each part, m ı* lo g e th e r thoroughly

fin le r lo manipulate the clay İnto

but quicltly, Ih en

every tast detail of the mould.

puSh

the bulton

into the compound and wait tor

Run Badger Balrrı along (he edge

about ten rni;ıules before releasing

of a t issue bladc and scrape away

the buttor* lo leave a perlect m ould.

any exce$S clay. Release the clay from the mould and leave lodry,

12

STEP 3

STEP 4

STEP 4

To make the frame base layer,

Once again. mix up two part moülding compound. rolı out

start w ilh haH of the remainlnç

behveen I vjo ı.5ırım soacer hars

clay. Apply Badger öalrn to the

t hen laya sage leaf onto t he

work surlace then roll out the day

compound. roll över once more and

belween imm spacer bars. Check

allovv to sel ürm before removıng

ıt has been rolied to the correct size

Ihe leaf. Ihis makes a qreat tenlure

using the Coot tools shape template

plale, Make two identical plales.

called "cushion" measuıing the

Take a small amount of d a y rollıng

targest (rame size. Cover this över

it into a teardrop shape. Press the

w iih cling film vvhile preparing Ihe

da y betıveen the two sage leaf.

second layer of the (rame.

im

STEP 6

r

STEP 7

STEP 8

-

STEP 5

STEP 6

STEP 7

STEP 8

Prepare a texture plale with olive

Use the ''Cushion' template again

Oip the d a y pick into the Badger

Make two small loops Irom which to

od. Rolt out the remaimng haH of

with a ctay pick to cut out the inner

Balrrij r>ow use the pick ıo çul

hang the pendant. Use İmm spacer

the ctay betvveen t.5mırı spacer

aperture lo r ıhe (rame. Remove the

sround the largest aperture o l the

bars cut a strip approximateiy

bars. Transler the Clay to the

cling film from ıhe base layer, apply

cushion templale, Make sure you

O.Smm wıde by 0.75mm long. Lift

lexlure pldle. now lay İmm spacer

a littie water a n dca relu liy lilt the

penelrale the lwo layers, holding

and ease this över a cockiaii stick

bars oo top of the texture plate

text jre d Irame and lay on lop ol

(he clay pick al a 9 0 ° angle in c-rder

to form a small loop or lunnel.

beside the clay, now rol! över the

the oase layer.

to create a clean edge to the Irame.

AIIovj to thoroughiy dry.

clay and spacer bars once, fırmly.

This should glide Ihrough w iıh ease. Remove any excess clay and slore. AIIovj ali the pieces to dry.

STEP 10 TR-ACC ^ SPUR-CiiN. UNl'HON'ı' BftILEV

STEP 11

STEP 9

STEP 10

STEP 11

STEP 12

Sana and reline the Irame, leaves

Assemble the loop component

Once ali the pieces are thoroughiy

Mix the ciear UV resin addlng just

and tree with sandirtg grits, fileş

parts to the hack ol the Irame by

dry and refined, they can be tired

a hint ol colour with colourants.

and pollshing papers, to help refine

addlng a litlle water to the Irame

using your preterred method.

Use a cocktail stick to drip the

ihp sıırlac? ol the clay. The use of

and a lilllâ synnge a long the

Here the pieces have been fired

resin onto (he aperture. cure one

polıshıng papers really helps the

edge of the loop. place caretuliy

in a kiln al 8 5 0 ° for 30 minutes.

layer. then add lu rth er (ayers ûf

en d polishing procedure.

into posıtion and hold lor several

Once fired Start with a solt brass

colour if desired. Place the tree

seconds Altow ıo dry.

brush and proceed Io polish by

onto the resin, as Ihe resin cures

hand or with the aid of polishing

it will secure the tree into position.

machlne or eguipment.

Place (he piece İnto the UV light

resources

www.craftworx.co.uk.www.siiverclay.co.uk

box Io cure the resin. Assemble the

CONTACT DETAİLS [email protected] cral|^orx.co.jk, 07961 8S3H5

pendanl wiıh chain and jumprings. >. . . . ’■ m 5 k ı n o ı c .. c l ,

ry

' *iı

13

Material Safety Data Sheet

U.S. Department of Labor

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

Occupational Safety and Health Administration (Non-Mandatory Form) Form Approved OMB No. 1218-0072 N o te : B la n k spa ces are n o t p erm itted. I f a n y ite m is n o t ap plicab le o r no in fo rm a tio n is available, the space m u st be m a rk e d to in d ic a te that.

ID E N T IT Y (as U sed on L a b e l a n d List)

Accent Gold for Silver Paint™ Section I Manufacturer’s name

Emergency Telephone Number

Gold Nugget Innovations Address (Number, Street, City, State and ZIP Code)

Not applicable Telephone Number for Information

7804 R. C. Gorman NE

Date Prepared October 18, 2004

Albuquerque, New Mexico 87122

Signature of Preparer (optional)

OJ-~ ,-~r\o (505) 855-5508

Section II— Hazardous Ingredients/Identity Information Hazardous Components (Specific Chemical Identity, Common Name(s)) OSHA PEL Not applicable

ACGIH TLV Not applicable

Other Limits Recommended Not applicable

% (optional) Not applicable

C o ntains no ha zard ous com p on ents to be declared w hen used as paint m ixture. C ontains: gold po w d e r (99+% ) C e llu lo se gum

>50% (w t.)

C AS #7 4 4 0 -5 7 -5

< 5% (w t.)

C AS #9 0 0 4 -3 2 -4

C h em ica l description: sod iu m ca rb o xym e th ylce llu lo se W a te r

B alance

Section III—Physical/Chemical Characteristics Boiling Point 2807 C (as gold metal) Vapor Pressure (mm Hg) Not available

Specific Gravity (H20 = 1) 19.3 grams/cc (as gold metal) 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 Data Flash Point (Method Used) Not available

Extinguishing Media

Flammable Limits

LEL Unknown

UEL

Not flammable

Not available

Not available

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)

Section V— Reactivity Data Stability

OSHA 174 Sept. 1985

Unstable

Conditions to Avoid None known

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

Hazardous Polymerization

May Occur

Conditions to Avoid

No

None known

Will Not Occur X X X Section VI— Health Hazard Data Route(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 irritation if transferred to eyes. Carcinogenicity No

May cause allergic dermatitis in susceptible people after prolonged skin contact.

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, flush eyes thoroughly with low pressure water for at least 15 minutes, and see a physician to ensure that the gold powder and aqueous medium are completely removed. Section VII— Precautions for Safe Handling and Use Steps 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 Measures Respiratory 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

Eye Protection Wear safety glasses or goggles

reaction is possible. Otherwise gloves are not necessary. 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™ F or best results it is essential that you fo llo w these instructions carefully! These instructions, dated 2/16/2005, supersede all others.

About This Product This 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 alreadyfired 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: AG S™ in the enclosed bottle is prepared as a thick slurry and can be applied by daubing as w ell as brushing. Thin the paint with a drop o f water i f needed, but do not thin it too much or you w ill 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 ccen t G old f o r Silver™ Method 1 - Firing AGS™ in a Kiln or Furnace 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 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 sh elf must already be in the furnace and at the firin g 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 Torch The 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 Precautions This 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: [email protected]

AGS™ - Accent Gold for Silver™ F or best results it is essential that you fo llo w these instructions carefully! These instructions, dated 11/10/2007, supersede all others.

About This Product This 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 G old for Silver™ Method 1 - Firing AGS™ in a Kiln or Furnace 1) 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 onTorch Firing . Do not dry the 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 to1650F asdescribed in the following 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 Torch The 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 Precautions

This 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 [email protected]

Art Clay Silver - General Inform ation Deborah E. Love Jemmott

© 2000

Rev. 1-0 3 , 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 Syringe Paste - 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 it into 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 the refrigerator. • Do not get clay in mouth or eyes.

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

Working with the Art Clay - Silver Since the clay dries quickly, all tools and supplies should be set out and the area prepared before opening the packet. Tools and Supplies Plastic 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

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

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:

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 lubricanton the stamp. Also be aware that many stamps are copyrighted and you must alter 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 bit of 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 large void 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 the warming 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 be filed, sawed, sanded, polished, or soldered to other non-ferrous metals. • Pieces may be re-fired multiple times. Add clay, syringe or paste to the finished piece and repeat the firing process. The new portion will shrink 8­ 10%. The previously fired portion will not shrink again.

Oriental pendant made from art clay silver

KtvrNGRfrur t-HOTOGRAPHY

LAURCl OUİLfOVLE

This professıonal project is desıgned fo r jevveilery m akers who love woı kinq vvith fine silver clay The A rt Deco desıgn is sımply slunnm g

T

racey Spurgin says, "My focus is perfection in \vorking and teaching wilh

A rt Clay Silver" Tracey is a qualified Art Clay Silver İnstructor and m em ber of the Silver A rt Clay Guild. H er vast teaching experience nıeans she can ofFer work$hops, dem onstrations, parties or presentations for ali occasions. For further inform ation visit h er website. This project focuses on transferring an oriental

YOl i ' 4'

l|

NLL. ı

ılv ı ' r11 , ı,

- i

I. ı

*►

If

•“

İl, I

k.|'n ||

«► "llf'U İM I ®-

M fî l‘ : İl I'-’ ''I

•• v j n o ' i n ; \ ı p

pattern onto silver clay. The piece is then fret vvorked with a small diaınond füe. It wül take a

»■Ahu hı .

little time and patience but the results are well w orth the effort.

»■ "l.ıy pıc i-

o-

M ı lı

p.rt'.l' ı s 111 u r ıi1

• lı

J 1

Gem studded Make this gorgeous gecko brooch in silver clay and stud w ith your favourite colour gems. By Tracey Spurgin

T

ra c e y d e liv e r s a fu ll p r o g ra m m e o f silver cla y w n rk s h o p s fro m h e r o w n s tu d io in Y o rk s h ire . b u t

travels fa r an d w i de to o t h e r ve nues such as colleges, g a lleries a n d a r t c c n tre s , to d e liv e r a range o f w o rk s h o p s th a t ap peal to th e co m p le te b e g in n e r as w e ll as th e p ro g re ssin g enthusiast. L e a rııe rs a re in s p ire d a n d g a in k n o w le d g e an d c o n fid c n c c in w o rk in g w it h m etal clay. H e r e she show s y o » h o w to m ake a sim p le an d e ffe c tiv e b ro o c h . T h is m e th o d w o u ld w o rk re a lly w e ll w it h an y s im p le an im a l o r re p tile shape.

MATERIALS •> 5 0 g S ilv e r A r t C lay » S y rin g e ty p e A r t C la y * P a s te ty p e A r t C la y R o lle r ► 1.5m m s p a c e r ba rs B a d g e r b a lm o r o liv e oil W a te r C la y picks o r c r a ft k n ife S a n d in g g rits

designer tip •> S tip p lin g w ith a b ru s h is a g re a t

» P o lis h in g p a p e rs

te x tu re , v e ry e a s y a n d q u ic k to

» W ire b rush

c r e a te . T a ke s o m e p a s te p r s y rin g e

► S m a ll (ile

ty p e c la y a n d vvorking in sm all a re a s

► P a in t b ru s h

(so th e p a s te d o e s n 't d r y ) s tip p le

► Tvveezers

w ith a n o ld to o th b r u s h o r o t h e r s tiff

A little p o ly m e r c la y •• S e le c tio n o f C Z (ir e a b le g e m s to n e s

b ru s h . K e e p vvorking a t th e te x tu re u n til y o u a r e h a p p y w ith th e w ay it lo o ks . Y ou c a n k e e p vvetting th e

» D rill s e ttin g b u rrs

p a s te w ith a little vvater, to c h a n g e

» F ire a b le b ro o c h pin

th e lo ok o f th e te x tu re .

S TEPİ

STEP 2

STEP 3

STEP 4

Draw out th e design, th en cut out

Use l.5 m m spacer bars to roll out

O nce fu lly dry. use sanding grits.

M a rk th e p lacem en t o l th e stones,

the paper p a tte rn , cover th e paper

th e clay to an even layer. Place th e

fileş and polishing papers to refin e

drill th ro u g h th e clay first vvith

pattern w ith badg er balm and

p a p er p a tte rn o n to th e surface

th e sh ape an d o u tlin e of th e piece.

a pin vice, th e n using a drill settin g

prepare th e vvork su rface w ith

of th e clay. use a clay pick to cut

W ork c a re fu lly an d slovvly at this

b u rr of eq ual size to th a t of th e

a little balm or olive oil too.

a ro u n d th e ou tlin e of th e paper

stage, th e m o re finishing d o n e at

stones. d rill th ro u g h th e clay to

p a tte rn . U se a little p o lym er clay

th is p o int th e less you need to do

th e c o rre c t d e p th , keep checking

u n der th e m ain body an d head to

o nce fired .

as th e ta b le of th e stone should be level w ith th e clay.

add a little fo rm to th e body shape. Set aside to dry.

r

STEP 6 \

VVINTER 2011

i FASHION INSPIRATION

faslı ion tips

J

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

STEP 5

STEP 6

This pin is a push in brooch pin.

Once fu lly dry. check th e piece

apply a little paste or syringe to th e

and do a final re fin e of th e shape

back of th e gecko, to secure th e

and o u tlin e. Fire a t 8 0 0 ° C fo r 2 0

pin housing in place. Allow to dry

m ins. A llow th e piece to cool down

once m ore. The surface te xtu re was

naturally, finaliy vvire brush. for

added to th e fron t of th e piece by

a sa tin sheen. A tta ch th e brooch

using paste as vvell, th e stippling

pin to finish th e piece.

vvith a stiff brush gives the rough skin like texture.

resources Clay availab le to purchase via em ail fro m Tracey

C ontact details fo r fu rth e r In fo rm a tio n on ali workshops o r 1-2-1 tuition:

'O' . .

[email protected] craftw orx.co.uk

» * ♦ «■-•

' ' ' ■- r *

www.craftworx.co.uk •i.

07961 883115

www

m a k ın ç ıe tte

lerv

c o rrl

I

,#—

*



, ***■

33

Material Safety Data Sheet 1. P ro d u ct a n d C o m p a n y Ide ntificatio n P rod uct name: A rt C lay S ilver B asic series C lay type, P aper typ e and S low Dry type A rt C lay S ilver 650 series Clay type, Paste type, Syringe type, Slow Dry type and Overlay Silver Paste A rt C lay S ilver ST series C lay type, Paste typ e and S yringe type A id a C hem ical Ind ustries Co., Ltd. 6-1 5-1 3 M inam i-cho, Fuchu-shi, T okyo P rod uct D e velo pm e nt D e pa rtm e nt +81 (0) 42 334 6319 +81 (0) 42 224 6359 +81 (0) 42 366 8751 (D A C O versea s D ivision) O ffice hours: 9:00am - 18:00 pm

M anufacturer: A ddress: C o n ta ct D epartm ent: T elephone: Fax num ber: E m erg en cy contact:

2.

C om position, In fo rm a tio n on Ing re dients

C lassifica tion o f Product: C hem ical Nature: Ing re dients (% by wt.): O fficial R eference Num ber: C A S R e gistry Num ber: D a ng erou s Possi bility: 3.

H a zard ous Ide ntificatio n

T oxicity: E nvironm ental Effects: P hysical and C hem ical Hazard: A d ve rse Hum an Health Effects:

C lassifica tion system : 4.

Possible irritation to the skin and m ucous m em brane, irritation of up pe r respiratory de pe nd ing on the w o rkin g environm ent. N/D A vo id co n ta ct w ith 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 o f resp irato ry organs, caused by long period use de pe nd ing on the w o rking environm ent. N/D (Japan S tan dard C lassifica tion )

F irst A id M ea sure s

Inhalation: Skin C ontact: Eye C ontact: Ingestion: 5.

M ixture S ilver (Ag) and B in de r (O rgan ic m aterials) S ilver 80-95% and B in de r 5-20% Silver: N/A, and Binder: N/D Silver: 7440 - 22 - 4, and Binder: N/D N/D

B lo w nose and gargle. If sig ns / sym p to m s occur, rem ove person to fresh air. If sig ns / sym p to m s continue, call a physician. W a sh w ell w ith soa p and water. Im m ediately flush eye(s) w ith plenty o f w a te r until no foreign body is felt. G et im m e dia te m edical attention. W a sh yo u r m outh w ell w ith w a te r and gargle. G et m edical attention if necessary.

F ire -F ig h tin g M ea sure s

E xting uishin g m edia: W ater, Dry chem icals, CO 2 S pe cifie d m ethod: In case o f a sm all scale fire, use w ater, dry che m ica ls or CO 2. In case of a la rge r scale fire, w a re protective gas m ask and use w a te r spra y m ethod. 6. A c c id e n ta l R e le a se M ea sure s H ealth m easures: Put on dust protection mask, goggle and gloves if necessary. E nvironm ental m easures: In case o f large release, do not release to a se w e r or natural environm ent. R em oval m ethod: R em ove by v a cu u m in g or m ap w ith a cloth, and then wash. 7. H a n d lin g a n d S torage H andling: W ash w ell w ith soa p and w a te r a fter skin contact. Put on du st protection m ask, go gg le and glove s if necessary. S torage: Keep in cool and da rk place avo id ing direct sunlight. 8. M ea sure s fo r P ro te ctin g E xpo sure M easure to Install: Install ve n tila tio n system near th e w o rkin g area if dust occurs. Protections: Put on protection mask, glasses, and gloves. H yg ien ic Practice: W a sh th o ro u g h ly after handling.

9. P h ysica l / C h e m ica l C h ara cte ristics C o lor / w hite, O rd e r / none A pp ea ran ce: S ilver / 21 55 °C / 3911°F B oiling Point: S ilver / 961°C / 17 61 .8°F M elting Point: S ilver / insolu ble in w a te r / solub le in nitric acid S olubility: Bin de r / solub le in w a te r S ilver / none Flash Point: Bin de r / 3 0 0-4 00°C / 572-752°F S ilver / in com b ustible C om bustible: Bin de r / com b ustib le 10. S ta b ility a n d R e a ctivity Stability: H a zard ous Reaction:

C ond ition to avoid: H a zard ous decom position: 11. H e alth H a zard A cu te Toxicity: Skin C orrosion: Inhalation:

S table S ilver reacts w ith ace tylen e to form sen sitive chem ical com pound, reacts w ith acid to cause high heat, and reacts to co n de nse d hydrogen peroxide to form ga seo us oxygen. Dry s ilve r clay reacts w ith am m o nia to form exp lo sive com pound. High te m p e ra tu re / high hum idity None

None P ossible irritation to the skin and m ucous m em brane. P ossible irritation of up pe r resp irato ry includ in g sore ne ss of nose and throat, co u gh ing and sneezing.

12. E co lo g ica l Inform a tion M obility: C o ntam ination: D ecom position: Bioaccum ulation: 13. D isp o sa l C o nsid era tion D isposal m ethod:

14. T ransp ortatio n Inform a tion International R egulation: T ransp ortatio n C onsideration:

M ay release in du st form in the air d e pe nd ing on the w o rkin g environm ent. N/D N/D N/D

F ollow ing the handling of general industrial w a ste acco rding to the in stru ction o f the local authority.

T ra n sp o rt in a cco rda nce w ith federal, state a n d/or local regulations. A vo id high tem pe rature , high hum idity and sh o ck on th e container.

15. R e g u la to ry Inform a tion Laws o f Labor, S afety and Health:

S ilve r / reporting m aterial (#138 / silve r and its w a te r-so lu b le com p ou nd in clusion ) P ollu ta nt R elease and T ransfe r Register: S ilve r / C a te go ry 1, D esignated C hem ical M aterial (#64 silve r and its w a te r-so lu b le com p o u n d - ove r 1% inclusion) O rdin an ce R e view fo r R egulation o f D angerous S ubstance, C h ap te r 1-12: B in de r / D e sign ated co m b u stib ility syn th e tic resins (othe r category) *E n su re this product in com p lia nce w ith federal req uire m en ts and en sure de form ity to local regulation and law. O th e r İnform a tion R eference:

Fire Precedent:

C h em ica l E ncyclop edia (K Y O R IT S U S H U P P A N CO ., LTD.) C h em ica l M erch an dise o f 12394 (TH E C H E M IC A L D A ILY CO., LTD.) W e b site of Japan C hem ical Industry A sso cia tio n (JC IA ) h ttp ://w w w .n ikka kyo .o rg / T e ch n o lo g y and E valuation (N ITE) h ttp ://w w w .n ite .g o .jp / JIS Z 7250 (Ja p a n e se Industrial S tan dard s Z -7250) None

un de r 1%

National Institute of

This Material Safety Data Sheet is complied with JIS Z 7250 and formatted as same as ISO 11014-1.These data are based on our present state o f 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 determ ining w hether above mentioned product is fit for a particular purpose and suitable for user’s method of use or application.

REGULARS

Web reviews

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

CRAFTY İDEAS FOR ALL!

STRINGS AND THINGS

WWW.CREATIVEBEADCRAFT.CO.UK

C

WWW.BEADAL0N.COM

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

This 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 w orkshop page

design and create fabulous pieces of jevrellery. Choose from ceram ic, metal, shell, pearls, glass, w ood and many other materials, shapes and sizes.

w here you will find som e stunning pieces of jewellery to make, com plete with instructions. On the same page, under the Vid-eos heading, there are dozens of tutorials which wiil auswer

Creative Beadcraft Ltd, formerly know n as Ells & Farrier, have been im porting beads, sequins, trim m ings, im itation pearls, diam ante and jewellery com ponents into the UI< for över 75 years, The web site makes it extremely easy to brow se their stock and make your choices. They are very conscious that beads have m any uses and so cater for al! types o f hobbies including embroidery, dress and costum e making. If you

ali o f your jewellery making questions. I firmly believe that your threading materials vvill either

prefer a catalogue to brow se 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 item s and tools in their special 'N ew Products' page, a great idea!

make or break your jewellery item. For this reason I think Beadalon will inspireyou to try using som e very different stringing materials. The dow nside is that Beadalon do not seli direct to custom ers, but rather to retail outlets which are listed on the web site. Be sure to contact them if there is som ething that you w ant to try.

best ofthe rest WWW.EMPfRCBF.AD5.CQ.UK

Empire beads offer a very bright and com prehensive web site w hich is packed fiili of beading and jewellery items, as

beads

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

FAIR COP, FOR FAIR TRADİNG WWW.BEADSUNLIMITED.CO.UK

CRAFTWORX: WWW.CRAFTWORX.CO.UK

This web site offers so much more than just

This is a web site with:-a difference, because it is a site specificaily for advertising amazing craft

beads, it offers a com plete package for the jewflr r o j k ı n ç ı c ' i e l ' c r v

co m

49

Fine silver ııestinıi rin

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

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

► Polishing papers Wire brush Small file » Paint brush » Ring mandrel Ring gauge

T

racey dellvers a full p ro g ra m m e o f silver clay

* Ring papers

vvorkshops fro m h e r o w n studio in Y orksh ire

- 4 x 2mm clear CZ stones

b u t travels faı and vvide to o th e r venues,

such as colleges. gallerles and a it centres, to deliver a range o f vvorkshops th at appeal to th e co m p lete b e g in n er as w e ll as tlıe progressıng enthusıast Learners are in s p iıe d and gaın kn pw ledge and conhdence m w o rk in g w ith m e ta l ciay.The tw o halves o f this rin g have been treated vvith co n tras tin g te xtu re and styling, hovvever, jo in ed to g eth er they c o m p le m e n t each o th e r to create this s tu n n in g look. I f yo u are interested ın lın d ın g a silver clay class near you vvith q u alified tutors,

ian \DEA'.

log o n to w w w .a rtc la y w o rld .o rg .u k .

16

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

STEP 1

STEP 1 Start by preparing the ring mandrel,

designer tips:

resources The clay is available to purchase

use a ring gauge to determine your

»■ Nesting rings are fun to make,

chosen ring size, Size the ring three

adding contrast to each halt

sizes bigger to attain the correct

of the ring really emphasises

furthe r inform ation on ali

finished size. Mark the mandrel with

the design

workshops or 1-2-1 tuition:

a pencil and tigh tly wrap ring paper at the correct point.

• - When firing rings, loosely insert

Via email. Contact details for

[email protected]

a roll of fibre blanket into the

www.craftworx.co.uk

ring shank to retain the shape

07961 883115

and prevent slumping

STEP 2

STEP 3

STEP 4

Prepare and roll out the clay using

Wet the paper on the mandrel

Seal the join with a small

STEP 5 While the clay is stili soft, use

1.5mm spacer bars. The band needs

and wrap the clay strip following

application of syringe or paste then

a craft knife or clay pick to cut into

to be approxımately 1.25cm wide.

the guıde line on the ring papers.

smooth to a seamless join.

the clay to create the two separate

Use a tissue blade or craft knife to

halves of the ring. Allow this to dry

cut through the clay on a diagonal.

completely then remove it from the ring mandrel. Sand and file the whole of the ring to refine the edges and finish.

SPURGIN, LAUREL GUILKOYLE

STEP 7

STEP 8

TRACEY

\

STEP 9

\

STEP 6

STEP 7

STEP 8

STEP 9

For one sectıon, replace ıt back

The second half of the ring has been

Check that the rings sit neatly

Once fired, wire brush, then

onto the mandrel for support then

polished with polishing papers to

together. Now fire the piece either

progress through the sanding grits

apply a generous amount of paste

a smooth finish. Using a fine drill

using the blow touch, gas hob or

and polishing paper to achieve the

type onto the outside of the ring.

and stone setting bur to drill the

kiln firing method. Once fired do

desired high shine. Lastly rub with

Gently pat the wet paste onto the

cavity to receive the small 2mm CZ

not guench the ring as this could

some silver polish and a soft cloth.

ring until the clay starts to get

stones, the stones need to be set so

give the stones thermal shock and

Place the ring in a velvet lined box

sticky. This creates the stippled

the table of the stone sits flat and

will break or damage them. Allow

and wrap it neatly in hand made

textured effect. Once again allow to

level with the surface of the clay.

the rings to cool slowly.

papers, ready for your Valentine.

dry thoroughly before sanding and

This allows the clay to grip the stone

refining again.

during shrinkage when firing. w w w rfı a k i o cra(tworx.co.uk 0 7 9 6 1 883115

coı

59

ADVANCED PROJECT

STEP 10

n

j

t

5

5 1

J 3

J

STEP 9

STEP 10

STEP 11

STEP 12

Use a fine half round file to file away

Roll out th e d a y once m ore about

Once again file and refin e the

Rem ove from the kiln, w ire brush

the tip of th e folded section. Take

.5m m thick, apply a generous

vvhole piece using polishing papers

then solder o r glue to Sterling

this slowly and very steadily to

application of w ater to th e surface

to achieve a high shine. Once

earrintj post to th e back of the

and ease dovvn th e m ain body of

co m p letely read y fire th e pieces at

pieces. Pickle. then polish to

th e piece. Using a sm all syringe

8 5 0 ° fo r 20 m in s

a high shine.

avoid breakages.

MATERIALS » .7 g A rt C la y S ilv e r » R o lle r •• .7 5 m m a n d .5 m m sp a c e r bars ► B rass b ru s h •• Fileş •> S a n d in g g r its » P o lis h in g p a p e rs » C ra ft k n ife o r n e e d le to o l * C o m p a ss ► R u le r ► 2 x 2 m m fir e a b le g e m s to n e s » 4 m m c ir d e c u tte r » A little p a s te o r s y rin g e • P a p e r to d r a ft p a tte rn • - 0 .8 m m S te rlin g w ire o r 2 S te rlin g e a r r in g po sts

AUTUM N 2011 FASHİON İNSPİRATİON

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

IN TE R M E D IA T C P R O J E C T

1> S lrp s

Art CIav Silver phoenix brooch Flames of gold. lap around the phoenix as he takes flight. A stunning brooch made by Tracey Spurgin

INTERMEDIATE PROJECT »

STEP 2

designer tips: As you cut the clay w ith e ith e r a clay pick or



f

c ra ft Knife. dip th e tip of th e knrfe m to some b a d g e r balm . ıt h elps to g.'ıde e ffo rtle ssiy th ro u g h th e clav an d prevents d rag g in g To t*re so m e th ın g th a t is shaped. su pp ort th e shape w ılh lıh re b lan k e* to p revent

STEP I

STEP 2

it fro m reiaxm g d u rin g firing

C ut o u t th e paper im age o f the

Use th e tıp o f th e clay pick to draw

p ro g ra m m e o f silver clay

p b o e n u and co ver ıt ı r badger

c n th e deta*l o l th e e y e and beak.

vvoricshops u» a v a rıe ty

balm P re p a re a 2 5 g lu m p o f 6 5 0

Using a pam t brush. p ro p th e body

o f venues. Fro m th e N o r th W est

Slow d ry A rt C lay ın the usual way

and hcad lo gıve shape to the

lo the Y orksh ire regions, from

and th en ro ll İt o u t o n to a lıghtly

w hole piece. A llow Ih ls to d ry e ith e r

h e r b ra n d n e w studıo. T rac ey

oıled b le using l.5 m m spacer bars.

ın th e öven a t I 3 0 'C or naturaily.

delivers h ig h q u a lity courses in

Place the p a p e r im age in to the

Sand and filo to sm oo th th e piece.

a relucing atm o sph ere. This b ro o ch

clay and cut around the outline.

delivers a full

was ınspıred by th e legend o f the p h o e n u w h :c h has been arou nd fo r centu rıes. O n e such s to ry is that th is s u p ern a tu ral c reatu re. Iıves for 1 0 00 years. O n c e th at tim e ıs over, it buılds iıs o w n fu n e ra l pyrc. and th ro w s its e lf in to th e flam es A s it dies, İt Is re b o rn an d takes flight to llv e a n o th e r 1000 years.

M A T E R IA LS 2 5 g S ilv e r A r t C la y R o lle r A lit t le s y r in g e ty p e B a d g e r b a lm o r o liv e o ll

STEP 5

STEP 6

STEP 7

VVater

The A rt Clay brooch pin has lour

A fte r lirln g . brush th e surface of

Fire up th e kiln to 8 9 0 ’ C on ly

C lir.g film

co m p on ent parts. th e latch. th e pın

th e piece w ith a soft brass brush.

Place th e piece in th e kiln once

C la y pick

and th e tw o s c re w -ır bases. These

Mt« up th e ac cen t gold paste. using

it has reach th e desired

C r a ft k n ife

tw o screw bases nee
View more...

Comments

Copyright ©2017 KUPDF Inc.
SUPPORT KUPDF