Firing is not difficult. Rubina asks Can PMC original be fired with a torch instead of a kiln? Maybe you could but you would have to do it for two hours!
How do you fire Art Clay Silver in a cone sitter kiln? Low fire clay fires to F which corresponds to cone , the highest recommended firing temperature of all silver is F or cone Ceramic kilns fire much slower than jewelry kilns so the actual hold time is not too important.
Fire on High until the cone turns off. Actually if your rate is F in the last degrees then cone works out to F if you want to get technical but we need a no hold time temp to fire to. Place the silver-clay on a kiln washed shelf right under the cone setter. That way the cone is measuring the temp right at the silver-clay. All of these suggestions relate to computerized kilns too if you cant figure out the ramp and hold programming.
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. The only one i have heard of is using fine silver as a backing, most other metals tarnish in the kiln. The other problem is that dissimilar metals don't like to be bonded and are likely to corrode. Stainless steel may work, you try it and let me know. Of course the lead or tin would melt before the silver was fired.
Can other metal components be incorporated into designs using the silver clay as a plate? Fine silver and 24 K gold will work for sure, sterling sort of works, I bet stainless will work, you cant fire anything with copper in it except in a sagar full of charcoal.
Sandy Asks I want to work with the metal clays to go around my fusion glass pieces and.. My question is will glass melt into the metal? It will if you fire over the sagging temp of the glass. You could but we don't like glue, better to make a mechanical connection. Can the glass be finished fused and then go back in the kiln with the metal?
That is the most common way. Heather R. I am a glass artist. I fired PMC in my glass kiln directly on the treated shelf - for more than one full year, I had silver fuming on the plates particularly reds and blacks that I fired on that area of the kiln shelf. The silver stays in the shelf apparently and fires out over a very long time. What I do now, is turn the smallest shelf over to fire the PMC.
Then turn it back over for glass. So far this has worked for me. Thought you should know Thanks for the first hand info, We believe it is the lead in the glass reacting with the silver. No, only real precious metals can be fired, the dollar is not made of anything valuable. We keep getting bubbles in our piece when we torch fire the piece - what are we doing wrong or how can we avoid this effect?
C Your clay is not dry. Try these recommendations. Drying Time. Little Ceramic hot pot Hi! Thank you for providing a forum for questions! Here are some basic things to think of before you get started to help you get the best out of the silver clay. Art Clay is a water-based clay, so it will dry out when exposed to air. Think about your design, and make sure you have all the tools you need before you start. Keep a small pot of water and a brush next to you. If your hands are dry, moisten them with Slik , Badger Balm , Our own non stick balm or a few drops of olive oil before you start.
The secret to success is to follow the rule. The piece should now be more or less finished. Cut off as much clay as you need, and put the rest back in the little ziploc bag, wrapped up in cling film. Put the clay you are going to use in some cling film and knead it gently for a few seconds, just to soften it a little before you start working. If you are rolling out your clay, do so on a non stick surface. You can cover it with some baking paper or put it inside a report cover plastic before you start rolling.
This will stop it from sticking to the roller, and will also help to keep it pliable. If little cracks start to appear, use the tip of your finger, or a brush, to moisten it with a little drop of water or mist it with a little water and cover with a little cling-film tent, not touching the clay. If you need to leave your work briefly, cover it with a small piece of damp fabric, paper or cling film. Use a damp finger or the brush to smooth out and moisten the clay and every now and then, if you are working with it for a long time.
Don't add too much water of it might get a bit sticky. If you are are using cutters or textures, coat them slightly with cool slip, badger balm or olive oil, before use to stop them sticking to the clay.
Don't worry, if you do it well, you won't even see the repair when finished. Use Art Clay Paste to fit the pieces back together. Add a good-sized blob to ensure the two surfaces are "glued" together, and cover the surface crack with more paste. Leave to dry, smooth with sandpaper, and repeat if necessary. If it is impossible to repair, you can always use your imagination and make a new piece out fo the bits, add new clay to it to make a different shape, or use the bits as applications on another piece.
You can also remoisten the clay with a bit of work. Poke holes in it, add water and wrap in double layers of cling film, leave for a day.
What is precious metal clay? Written by Cooksongold. Related Guides. Clay Clay jewellery making — Everything you need to know. Clay What stones can be fired with precious metal clay. First Name.
Share this post. The instructions don't really say. Minimum vs Ideal The variety of times and temperatures for each clay type makes it possible to co-fire embedded items along with the clay, and it also allows for a variety of firing methods.
A common misconception about silver metal clay is that after firing it's solid metal, just like a casting, but it's not. Castings are made by pouring molten metal into a mold and allowing the metal to cool in the mold.
The result is a very strong, solid metal object with very little porosity more air spaces. But silver clay is not at all like a casting. Silver clay is sintered, and sintered objects are very different. The Sintering Process Sintering is a process where tiny particles of metal are brought to a temperature just below their melting point, a point where the metal is able to bond to itself.
Sintered objects are always porous because the metal particles are not like blocks that stack together neatly, they are various sizes and shapes, and they don't fit together perfectly. When a sintered object breaks, the break is irregular and the inside appears to be grainy and is a lighter color than the outside. Silver clay objects have the same look when broken. Many mistake this typical breakage pattern for "under-fired" silver clay when what they are actually seeing is the telltale sign of sintered metal.
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