Firing Metal Clay--Some Advice

 

 

FIRING

Barbara Becker Simon

©2021

 

SAGE ADVICE:  Before you fire your first piece, familiarize yourself with programming your kiln. Run a firing schedule with NOTHING in there--just to work your kinks out. Secondly, DO NOT proceed firing a "real" piece until you roll some worms of clay as TEST firings. When they are done, try to bend them. If they bend nicely, TA DA!!! Now you can jump in! Knowledge is power! Sacrificing some clay, and time with enough testing to feel like you have control, is worth every minute and penny.

 

 

No matter what brand of metal clay you are working with, you must check the enclosed literature and make note of the firing schedule for that particular clay.  Each type of clay has a time and a temperature (or several schedules) that will ensure full sintering of the clay.  Sintering is term that refers to the method of making an object from a powdered metal by heating the object a bit below the melting point of the powder.  Certain temperatures must be reached and held for specific time periods to accomplish the inter-connection between the tiny, powdered particles of metal.  Once you know the firing schedules of the different clays and your piece is bone dry, it is a simple matter to fire correctly.

 

If you are implanting an object or a substance into your metal clay with the goal of firing it in place, make sure that you know what firing schedule that object will tolerate.  For example, putting a CZ gemstone in metal clay at any time and temperature will be successful, but implanting a natural peridot will only work in the lowest firing clay. 

 

There are a number of ways to sinter metal clay.  Torch firing and kilns are the most common choices.  I will, on a rare occasion, torch fire a piece but I normally use a kiln that is conveniently designed for metal clay use.  I have found that most metal clay users eventually will own a kiln as it is the most versatile and dependable way to sinter your piece. 

 

If you already own a kiln that you might like to use for metal clay, just make sure that it heats efficiently and in a timely manner.  Those large kilns used for ceramics are not well suited to metal clay use.  They are not always accurate in temperature and take a really long time to heat up.  Smaller kilns are usually better.  Some people may have an old enameling kiln that would be useful.  Just make sure that the reading on the pyrometer (the gauge that records the internal temperature) is accurate.

 

 

 

Torch Firing:

If you have a relatively small piece that is made with the low temperature firing metal clay, you can sinter with a torch.  Almost any kind of torch can be used.  Many find the small butane torches that are sold in home improvement stores and kitchen stores (crème brulee torches, yum) to be very suitable and convenient for this procedure. 

 

I would not torch fire a piece that has more mass than a silver dollar.  It is also not practical to fire original formula clay that must be fired for 2 hours at 1650˚F.  The lower temperature clays work well for torch firing.

 

Place the piece on a fireproof surface such as a soldering surface, a kiln shelf, or a piece of fiber blanket. Lower the lights in the room to aid you in determining the temperature of the piece by reading the stages of red glow while heating.

 

Bring the piece up to a medium red glow and hold at that temperature for 3-5 minutes while gently rotating the torch on the metal clay. 

 

Once you have accomplished that, you can turn off the torch. 

 

Synthetic stones can be torch fired (but not quenched—air cool, please) but glass is not usually suitable for torch firing.

 

 

 

No metal clay piece is ever fired on the floor of a kiln.   A kiln shelf needs to be placed directly on the bottom of the kiln. You can place four little ceramic “feet” on the floor to support the shelf.  This way, if you insert a tool to remove the hot shelf after firing, you will have room for the tool under the shelf.  These little feet and shelves can be obtained from any ceramic, jewelry or metal clay supplier.  Flat kiln shelves are the best surface for firing flat pieces.

 

An item that is an aid for firing is a little stainless steel cup.  These can be found at kitchen shops in capacities ranging from about a quarter of a cup to two cups.  Stainless steel is a metal that will not easily break down firing after firing.   I can place vermiculite in these containers to support and nestle in non-flat metal clay pieces such as round beads.

 

Vermiculite is a material that I like to use to cushion and support contoured pieces during firing.  It is a material that can be found at garden supply stores and it is used as a soil conditioner.  It is nontoxic and can be used over and over again.  A dust mask is necessary when working with vermiculite.  Vermiculite can be put into the stainless steel dishes or simply mounded onto a kiln shelf.

 

Another way to fire a non-flat piece is to support it with fiber blanket.  This material is used in the glass fusing world and can be adapted to various contours.  It can be used a number of times before it becomes brittle.  It is best to work with a dust mask when using the fiber blanket. 

 

 

Arranging pieces in the kiln:

 

You can fire many pieces in the kiln at the same time, just follow a few guidelines.

 

If you have a lot of pieces to fire they can be arranged very closely because the shrinkage will draw them away from each other.  If pieces touch each other in the kiln, they will generally not fuse together but it is a good idea to keep them apart. 

 

If you have many, many pieces to fire, with the aid of the little ceramic feet, you can stack shelves in your kiln.  I try not to stack so many that the interior of the kiln is completely filled.  This tends to create uneven heating which can result in both under firing and over firing in the same kiln load.   Also, beware that the back corners of a kiln are sometimes a hot spot and try not to shove pieces into those extreme positions.

 

Both flat pieces on the shelf and shaped pieces supported by any of the above methods can be fired together, even on the same shelf.  If I am firing a lot of very dimensional pieces, like beads, I will place them in a large stainless steel bowl of vermiculite and place that on a shelf.

 

With metal clay, you have a lot of leeway in firing.  Simply pay attention to the crucial temperatures (lowest and highest) and to any implants that may be in your piece and you will have success.

 

DESIGN BIBLIOGRAPHY--for now!

DESIGN BIBLIOGRAPHY

(by no means complete!)

Barbara Becker Simon

SOME WEBSITES:

http://char.txa.cornell.edu/

An introduction to visual arts and design that stresses the components of visual thinking and visual language underlying design and the fine arts. Another class- online-type of website.

http://justcreativedesign.com/2008/06/13/how-to-design-learn-the-basics/

A blog by a designer--good, short survey of the basics

Have a go at searching the YouTube site for "Basic Design" or Basic "2D Design"  You will have to sift and winnow your way through but I think there are some gems there.  If you find one, let me know!

BOOKS:

Deeb, Margie.  The Beader’s Guide to Jewelry Design.  Lark Books, 2014

This book is not just for seed beaders.  It is a fantastic, illustrated tour of the principles and elements of design as it applies to jewelry.  A must have book.

Aimone, Steven.  Design: A lively Guide to Design Basics for Artists and Craftspeople. Lark Books

This is a great book with beautiful illustrations of the author’s ideas.

Bang, Molly.  Picture This: Perception and Composition. Bullfinch Press, Boston

(This is a playful book with a serious purpose.  Bang brilliantly illustrates how simple forms--diagonals, triangles, curves, horizontals--can be active, soothing, or downright scary.)

Barth, Lisa. Designing From The Stone, CreateSpace Independent Publishing Platform, 2011.

Bates, Kenneth. Basic Design: Principles and Practice. Barnes and Noble, NY:

Beitler, Ethel and Bill Lockhart. Design for You. John Wiley and Sons, NY

Bevlin, Marjorie Elliott. Design Through Discovery. Holt, Rinehart, Winston.

(An ideal choice for courses that combine the study of two-dimensional and three-dimensional art, this book presents an analysis of the elements and principles of design as they apply to various fields of human design.)

John Bowers, Introduction to 2d Design: Form and Function                    

(This is a very nice primer on those issues of two-dimensional design usually addressed in freshman foundation courses. A slim volume, amply illustrated, it succinctly explains the major aspects of form.)

Ching, Francis D.K. Architecture: Form, Space, and Order Van Nostrand Reinhold, N.Y., N.Y. Great hand rendered drawings and text explain theories of proportion: golden section, classical orders, renaissance theories, modular, ken and anthropometry

de Sausmarez, Maurice. Basic Design: The Dynamics of Visual Form. Van Nostrand Reinhold, NY

(The topics are general enough to apply to both 2-D and 3-D design; such as, primary elements, spatial forces, and visual kinetics.)

                                                                                                                   

Fenn, Amor. Abstract Design and How to Create It. Dover, NY

(Profusely illustrated guide covers geometric basis of design, implements and their use, borders, textile patterns, nature study and treatment. Clear and well written, this volume will be an invaluable resource.)

                              

*****Gatto, Joseph A.  ,Porter, Albert W.  , Selleck,Jack.   Exploring Visual Design: The Elements and Principles.  Davis.

(Discusses the elements and principles of design as reflected in various art forms and in daily life.  ONE OF THE BEST!)

Hambidge, Jay. The Elements of Dynamic Symmetry.  Dover Publications

(Hambidge writes about design principles found in nature which can be applied to the work of the artist and designer. Since the time of the ancient Egyptians, these compositional techniques have been used to give proportion, symmetry, and beauty to buildings, sculpture, paintings, etc. Because of their complexity and rigor, the principles are no longer taught widely, but they are useful for any artist or designer interested in making compositions which appeal to humans' unconscious sense of proportion. The book is old, and a little difficult to understand, but Dover has reproduced it well.)

Itten, Johannes  Design and Form: The Basic Course at the Bauhaus and Later, Revised Edition. Van Nostrand Reinhold Co., NY

(Just as Itten believed that everyone was capable of being creative and thought the basic course was valuable to all levels of art students and even teachers, this book is applicable for both those who are looking for an introduction into creating, and those who consider themselves expert artists already.)

Lauer, David. Design Basics. Holt, Reinhart, Winston, NY

(This is a best-selling text for the two-dimensional design course. It presents art fundamentals concepts in full two- to four-page spreads, making the text practical and easy for students to refer to while they work.)

Martinez, Benjamin and Jacqueline Block. Perception, Design and Practice. Prentice-Hall, NJ

Ocvirk, Otto, Robert Bone, Robert Stinson, and Philip Wigg. Art Fundamentals: Theory and Practice with Core Concepts CD ROM. McGraw Hill.

(The original text that set the standard for introduction to art courses across the country, Art Fundamentals has guided generations of students through the essential elements of art as well as the rich and varied history of their uses.  The tenth edition expands the wealth of related study materials available to students and faculty by offering a student CD-ROM, Core Concepts in Art, packaged free with every new copy of the text, as well as a comprehensive text-specific Online Learning Center; together these materials reinforce the principles and elements of design with practical exercises, self-guided tutorials, interactive examples, and suggested student projects.)

Oei, Loan and Cecile de Kegel. The Elements of Design: Rediscovering Colors, Textures, Forms, and Shapes. Thames and Hudson, NY

(The heart of Elements Of Design lies not in words, for it contains precious few of those, but rather in the stunning, full-color, full-page photographs that fill it cover to cover. Each photograph presents a different, majestic juxtaposition of colors, shapes, patterns, and fascinating medleys in this inspirational book created specifically to motivate artists and designers everywhere.)

Pipes, Alan. Introduction to Design 2^nd Edition. Prentice Hall

(Introduction To Design, 2/e is a comprehensive, well illustrated and easy to read introduction to the basic principles underlying all of the two-dimensional arts. Points and lines, shape, texture, depth, time and motion, value, color, design principles, proportion and scale.)

Stewart, Mary. Launching the Imagination: a Comprehensive Guide to Basic Design. McGraw Hill,\. 

(The third edition of Mary Stewart's textbook for foundations in art is an excellent guidebook and resource for teaching and learning the fundamentals of art and design.)

Wong, Wucius. Principles of Form and Design.  John Wiley and Sons.

(This book is a compilation of Wong's earlier works "Principles of Two-Dimensional Design", and "Principles of Three-Dimensional Design".  The illustrations are very different from popular design books and the content is not about mind-blowing inspiration, ongoing fashion/trend of design, or stupid sensational gimmick... it's just simple and pure - it describes principles of form.)

Zelanski, Paul and Fisher, Mary Pat.  Shaping Space: The Dynamics of Three-Dimensional Design,  Wadsworth Publishing

(This textbook is the most comprehensive, well rounded, well-balanced and clear introductory text available for teaching traditional 3-D design and introductory sculpture classes. The text is full of surprising pearls of knowledge, interesting anecdotes, and has well thought out connectivity of issues.)

Two Super Classes in August 2018 in NC

Metal Clay Fans & Friends:

I would like to let you know, just in case you missed it, that I will be teaching 2, one day classes at the Metal Clay Artists Symposium August 24 & 25 at the Sawtooth School of Visual Art in Winston-Salem, NC.

I taught at the Symposium in its first year, 2017, and it was a great event:  lots of classes to choose from, and best of all, a whole bunch of time to chat and get to know all the folks who were there.   Sawtooth is an amazing art facility with a helpful staff.  I know we had fun in our previous class(es) so, if you can make it, please join me again! www.mcas2018.com

On Friday, I will be offering a new workshop called “Put It In Writing”

.

Lately, I have been making my own glass cabochons with words, initials or phrases on them.  I then fire them into pendants made with PMC3.  

The results are ultra-personal, mysterious, funny, or ??? depending on your own slant.  When you sign up for class, I will contact you and make you a custom cabochon.  That and another one of your choosing at the workshop is part of the class fee.  I will be demonstrating the method of making the cabs so that when you go home, you will be able to make your own.  (Time just won’t allow us to do the cab and the pendant.) See some of the examples in the photo.

https://www.mcas2018.com/product-page/barbara-becker-simon-fused-glass-workshop

On Saturday, I will teach a class I call “Petit Carved Charm Necklace.” (https://www.mcas2018.com/product-page/barbara-becker-simon-fused-glass-workshop) 

This is a deceptive looking workshop.  These charms look small and simple and they are, BUT the accompanying skills learned in order to make the necklace are EPIC!  First we will learn about carving: for texture plates or stamps or in the dry clay itself.  This is a technique that has far-reaching potential for many, many metal clay projects.  Secondly, learning how to roll clay on a textured surface is one of the most paramount skills you need for metal clay.  Of course, dry finishing techniques, firing procedures (including torch firing) will be demonstrated.  After firing, we will learn the most successful way to use Aura 22 for that touch of gold!  We will finish by connecting with jump rings to a chain with a clasp.  If you are a Mc’er with experience, you will love this.  If you are a beginner with Metal Clay, this is a bonanza class for you—I guarantee it!

Cheers!

Barbara

The Truth about Work Hardening and it's Pal, Annealing

This is my metalsmith persona talking here. Please excuse the length of this but I wanted to explain something to folks who have no background in moving metal.

Ahem. there are only four ways to work harden non-ferrous metals: rolling in a rolling mill, drawing wire through a draw plate, hammering (usually between steel hammer heads and steel bench plates--sometimes a hard plastic, like a delrin mallet will compress metal over steel) and lastly, by bending/twisting. That’s it. Period. (There are some kiln heat treatment procedures that can harden sterling and Argentium--available to find online)

Tumblers have a burnishing action and not an action like a hammer. Tumblers rub. A hammer head has weight and mass and as it falls through the air to its target, it picks up velocity which gives the strike more power. That power compresses the internal microscopic structure of, say, a piece of sterling sheet.  A tumbler, even if you tumble for 3 days straight, will only compress the surface molecular layers and not all the way through the piece of metal--that's what gives the shine. If you tumble fine or sterling silver or base metal clays, you will merely "case harden" the object. Kinda like an M&M's thin candy shell!

Fine silver has no copper added like sterling alloy does. The addition of a copper (7.5%) to fine silver (92.5%) makes an alloy that is still very malleable but able to withstand abrasion better and able to be work hardened--the quality of springiness that a forged neckpiece has is work hardened by the use of hammers and steel surfaces to create the form.

A fairly thin (18 ga., say) piece of silver metal clay (fine or sterling) that is tumbled will look shiny but will be able to be bent by hand. A thin piece of sterling clay that is subjected to one or more of the four methods of work hardening mentioned above will have more resistence to the bend, but still be able to be bent because it is so thin.  If you change the gauge, you will have different levels of force that will influence bending a work-hardened sterling wire; from easy to bend to very hard to bend. 

Fine silver, some say, cannot be work hardened as it doesn't contain that bit of copper. I think, technically speaking, that is correct. Fine silver will change its "temper" when continually compressed with a rolling mill, for instance, but nothing at all like a similar piece of sterling.

Here's the point of all this jabber: If you are making something out of fine silver clay and it needs to be springy or unable to be distorted in any way, you need to choose a different material (metal) to make it. OR make it thicker, OR use sterling or 960 clay OR use a base metal clay (they tend to be less maleable), OK rant done, sorry

Things I know about TEACHING ! ! !

SOME THOUGHTS ON TEACHING

Barbara Becker Simon

I love teaching.  I get a real rush when I experience those first moments before I say “Good Morning, Let‘s get going!” and when I sense the eagerness in the class that the fun is just about to begin.

We are all here in the room to experience new things.  I say “we” because teaching is a two-way street where I learn a great deal from the students.  Besides, the technical tips I might pick up, there are:  new tools, what new sci-fi books to read, new sources of supplies, recipes, new materials, other good classes to take, best restaurant and other points of interest in town, new jokes, travel tips, where the nearest Trader Joe’s is, and simply getting to know new people and reconnecting with friends.

A portion of my teaching history took place in two university settings: courses in metalwork/jewelry and basic design at the University of Wisconsin-Menomonie and Iowa State University.  Granted, the students chose to major in art and were technically “happy” to be in class, but it was a serious learning situation with tests and grades.   Since I have been teaching workshops such as we are used to, it has been such a pleasure to stand in front of groups of people who, for the most part, are squirming with delight at being there!  So right from the get-go, the atmosphere is prime for a great experience.

I would like to offer some things that I, as a teacher, try to do to make the workshop experience the best it can be.

First, I like to know who is going to be in class.  No, not Mary Jones specifically, but, are they beginners? advanced? mixed bag?  A teacher needs to know her class and what the expectations are.  Often, I will blatantly ask what folks want out of the workshop.  Can’t hurt to be direct!  First thing, I like to go around the room and have everyone offer short introductions.  I ask where they are from and what their experience is with metal clay.  This not only gives me an idea of the skill level of the class and the personalities, but everyone else is listening too and getting to know their classmates.  It sets the tone for the workshop and gets the engine greased!

Weeks and sometime months ahead of the workshop, I plan what I am going to teach and how I am going to teach it.  A basic time line of daily activities is either in my mind or actually written down.  Previously, I have sent detailed class descriptions revealing the topic and the techniques that will be emphasized.  The students and the host of the workshop receive a specific set of supplies and tools to be responsible for.  I make sure to include my email for questions.  There is nothing sadder than a student who comes to class with the wrong stuff or the absence of stuff.  Bad for every one!  If possible, I always try to have back up tools and materials with me just in case this happens.

When presenting information, realize that there are different ways that people learn.  Luckily, most of what I teach is demonstration.  There is nothing better than seeing things happen right before your eyes.  And repeating a demo as many times as necessary is a good thing.  I can tell from the blank and/or confused look on faces, that I didn’t get through.  So I will do it again, with variations if possible, until I see the light bulbs click on overhead!  Sometimes I will ask a student to stand or sit right behind my shoulder so she can see exactly what I am seeing as I perform some technique. 

I will ask the simple question, “Is that clear?”  And I will wait for an answer.  If the time lapse between the question and the answer is longer than I like or I don‘t hear a rousing chorus of yesses, I know I have to figure out another way of explaining.  Maybe a diagram, maybe better, more exaggerated hand motions, maybe a joke or a funny phrase such as “slip flicking“?  Humor is an excellent memory tool!  

Many students, for lots of reasons, are afraid to ask questions.  I try to establish an open, free-wheeling atmosphere where no question is out of bounds. Often, before I answer a question, I will complement the asker by saying how much I like the question.  You just know that there are others in the group who are saying in their heads, “Thank goodness she asked that!”  And maybe next time they are puzzled about something, they won’t hesitate to ask.

The rhythm of the class is important to the enjoyment of the workshop.  No, we don’t get up and cha-cha.  (But of course I am not above doing that if it helps get the point across…)  What I mean is that a good teacher varies the length of each segment of activity.  Don’t sit the group down for hours on end doing one thing.  

I like to start with a demo that has enough information to get the students going on the first project.  I organize it as a need-to-know process.  Don’t overburden the students with info that they don’t need to know for the next 30-40 minutes.  That way, they can focus on the task at hand.  Then follow up that work time with the next demo and add more info. 

I also like to inform the class at various times that there will be X-number of minutes of work time; usually 30 minutes to an hour, where they are in full control of their time.  Always let the class know what is coming next; or even what the whole morning or afternoon will hold.  It’s comforting.   In addition to keeping info in bite-size increments, physically moving to a new area from time to time keeps things fresh.  It is very disturbing to see a yawning student…….

Speaking of yawning, be very attuned to the mood of the group.  Speed things up, slow things down as needs be.  Be thoroughly prepared but also be able to change your plans based on what the class sensibility is.  I am never averse to going off on a tangent if the class is curious about something and we have the time.  I like to have an “organic” approach to the learning experience even though I have formally established what will be covered in the workshop.

One last thing that will make a good teacher, is to be taught by a good teacher.  I have had some stellar examples in my past, from which I have unashamedly stolen teaching methods.  A good teacher always remembers what it is like to be a student in a disappointing class as well as a great one.   

Oh That Nasty F Word: Firescale!! and metal clay findings too!!

A PRIMER

ON THE USE OF PMC FOR FINDINGS AND CLASPS

and

GENERAL IMPLANTATION OF STERLING, FINE SILVER, AND ARGENTIUM

(***NOTE:  I wrote this article before the advent of PMC Sterling and the 960 alloy, so please read this with Fine Silver Clay in mind.  Now that we have the above alloys, strong clasps can be constructed entirely of these two new metal clays.  In addition, you can implant all the silver wire into them as well.)

FINDINGS, the mechanical bits that differentiate a bracelet from a tie tack, from an earring, have a number of things in common.  To function correctly, clasps and findings must have strong working parts to hold together and to support weight.   The finding must be fashioned in such a way that the wearer feels secure that the piece will stay on the body.  Ease of use is an advantage.  Integration of the finding into the overall design is always desired.  Commercial findings have their place, but when a designer can meld function with form, it is the best solution and tends to make a more successful and pleasing piece of jewelry.

Wire is the main form of metal that makes up a variety of clasps and findings.   Since PMC is fine silver, it is obvious that the implantation of any piece of fine silver wire will survive the highest firing schedule of 1650° F for 2 hours and anything below 1650° F.  Jump rings or eyelets of a thin gauge of fine silver wire are suitable for any small, light element that might dangle from an earring, for instance.  Even larger, heavier gauge jump rings in fine silver will function well if they are embedded to cover the joint.  But relying on fine silver of any gauge would be a mistake when the finding needs to have tensile strength (tension or spring) in order to function properly.  Without the presence of the small amount of copper as in sterling silver, fine silver wire cannot be work hardened for strength.  Therefore, sterling is the material that is preferred for creating findings in PMC.

A red flag should wave when considering implanting sterling into PMC.  At temperatures above 1200° F, sterling’s molecular structure will begin to change.  Initially, heat will soften the sterling and anneal it (about 1100°F).  Beyond about 1500° F sterling will become brittle and begin to reticulate or wrinkle on the surface.  Sterling silver melts at 1640° F which would be an obvious problem when using the 1650° F firing temperature for any duration of time.  Therefore, it is preferable to use only PMC 3 at the 1110° F temperature.  The duration of time at 1110° F doesn’t seem to be an issue.

Another change that Sterling undergoes when heated in the presence of oxygen is the formation of copper oxide, or firescale.    During heating, the copper at the surface is converted to Cu2O, cuprous oxide, which has a reddish color and then to cupric oxide, CuO, which is black.  We are used to seeing the black CuO on the surface after removing a finding of PMC 3 and sterling wire from the kiln, but what you don’t see easily is the Cu2O which is absorbed by the silver and the copper and then resides in the interior of the silver.  Prolonged heating and in the case of soldering, insufficient flux or wearing out of flux, causes firescale to go deep into the surface making abrasives necessary to remove it.

Firescale can be dealt with in a number of ways.  After firing, abrasives such as emery can be used to scrape into the surface of the sterling and remove the firescale.  As a total preventative measure, one can paint the entire surface of the sterling with PMC 3 paste. The paste will fuse to the sterling and create a layer of fine silver over the sterling and negate any oxidizing action in the kiln.  Depletion gilding is also useful in removing copper oxide. Pickle can be used to remove some of the surface firescale.  If the firescale is deep, abrasives must be used.  If using pickle make sure to neutralize the acidic action by soaking the metal clay in a saturated solution of baking soda and water.  Leaving pickle in the porous structure of metal clay is not a good practice.  ( see a comprehensive article on firescale: http://www.ganoksin.com/borisat/nenam/firescal.htm)

If a mirror finish or without patina finish is desired, firescale must be removed because of the off-color of the oxidized metal.  Polished firescale has a grayish, purplish tinge that is immediately noticeable if not removed or disguised by patina chemicals.  (Tumbling will not remove firescale—only acids, acidic chemicals and abrasives will work.)  It is not good craftsmanship to see polished firescale on a finished piece.

(If I know that I am going to be using patina chemicals to blacken my piece, I just leave the firescale surface intact and use it to my advantage by integrating the color of the oxidized sterling with the patina treated areas.)

To create various clasps and findings one can insert pieces of sterling wire into the soft clay.  Even though the sterling is fused to the PMC and captured by the shrinkage, a little insurance in the form of a wiggle in the imbedded wire is not a bad idea.   If one has a dry, unfired piece of PMC or one that has already been fired, sterling wire can be buried onto the surface with unfired  PMC 3.  Fire those types of PMC and then add your sterling and fire at the 1110 F temperature.

Once you have fired your piece with the implanted sterling, and removed the firescale, it may be necessary to work harden the sterling so that it will function properly.  For example, if you are making a hook and eye clasp, the hook must be strong and springy.  One can carefully hammer that hook form with a steel hammer on a steel block and create that spring.  Another finding that needs this step would be French or shepherd-type earring hooks.  Jump rings and eyelets whose joints are buried don’t usually need to be hammered.  Tumbling does not work harden annealed sterling sufficiently for it to function as a finding.

The configurations, forms and varieties of findings that one can create with PMC and sterling are limitless.  Being able to create a customized clasp that integrates aesthetically with a piece of jewelry is very advantageous to the overall look of the piece.  Not having to haul out the soldering paraphernalia is also a pleasure!  

  

Come to METALWERX in the Boston MA area in JULY and take 5 days to immerse yourself in every aspect of metal clay hollow forms: PMC BEAD-O-RAMA!
http://www.metalwerx.com/workshop/737
It's going to be a blast!!

Metalwerx: PMC Bead-O-Rama! Workshop

Level: Intermediate and aboveRequirements: Experience Working with Metal ClayProgram: SummerStatus: OpenLength: 5 DaysTuition: $ 795Only $ 755.25 for registration before 29 June 2015 Materials: $ 0Date: July 29, 2015 - August 02,...

METALWERX.COM