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How do i use the stones ? Virtually all our synthetic stones can be fired can be fired with any method - torch, hot pot, hob or kiln... There are some exceptions though that are a little more sensitive than others, notably green, peridots and the tanzanites. These should be torch fired if possible and the direct heat kept away from the stones.
If you are at all unsure about the stone, it is safer to test the stone in the kiln before including it in a piece. If a stone cannot be fired add it to the piece after firing.
Pearls, Mother of Pearl, plastic and "organic gems" (e.g. Amber) should never be fired - there should be glued into the piece after firing using and Epoxy resin/jewellers glue.
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| How do i set natural stones ? Natural stones and minerals are more difficult to fire and predict their reaction to extreme heat. Most natural stones have tiny "inclusions" of other rock, mud, minerals, fossilised/organic matter, or even small amounts of water. These expand and contract at very different rates so may caused the stones to explode. However there are some natural stones that can be fired.. i will hopefully post a list soon.
If you do wish to use a natural stone then i suggest pre-firing the stone before including it in your piece or include post firing with Expoy or in one of our settings or wire wrapping the stone. |
| How do i use enamels ? Enamels are ground glass NETQUOTEVAR:LINK
They can be used in several ways with metal clay. It is usually a good idea to "wash" the enamel before use - just swill in distilled water (kettle water at worst) and pour away any surface scum and the water leaving damp glass powder ). Allow to dry before refiring. Enamels can also be set in place using Klyr-Fire or similar glue. An enamel piece will be re-fire several times ... professional enamelist may re-fre as much as 12-15 times on complex pieces.
1) Direct application - after firing a piece add the enamel to the piece. Many thin layers are preferable to one thick one. The enamel may be placed by spatula or sifted on, a light "Klyr-Fire" pasting on the piece can be used to help adhesion.
2) Mixing - some enamels can be mixed directly with the moist metal clay to create a coloured metal clay. It is vital to test on a small piece before committing yourself to a large one, some enamels do not work as well as others and the enamle cannot be "unmixed". Blues and greens work best, opaques usually create strong colours than the transparents.
3) In Patterns in the metal clay - enamels can be used to create pools of colour on the surface of a textured piece of fired metal clay. Add small amounts of the enamel with a spatula where required and fire. Excess fused enamel on the high points can be removed with an abrasive stone to expose the silver surface again if required. You can then add further colours as desired. If sterling components are included in the piece then you should pickle or phyically remove any fire stain if it has a chance to contaminate the enamels. This method is called Champ-Leve or Bas-Taille depending on whether the background is enamelled and lower than the pattern, or the pattern is enamelled and lower thean the background.
4) In Holes - this complicated method of enamelling stretches even the professional, but can creat marvellous results. It is called Plique-a-Jour ("Light of Day"). Here the enamel used in holes that are cut out of the clay, or created using a filigree effect. The final effect is similar to a stained glass effect but on a much finer scale. Take your piece that has holes you wish to fill with glass. Cover the back of the piece with adhesive copper tape (used in copper foiling) so one side of all the holes are sealed off. Begining adding your enamels to the holes similar to the Champ-leve technique above using Klyr-Fire (try a 50/50 water mix). Fire and continue until finished. After final firing allow to cool and leave ( i usually leave over-nite ) then careful remove the copper tape - the enamels shpould be securely fixed in the holes.
5) In cells - this technique is called "Cloisinne" (Cells). Enamel again fills gaps or cells made either by silver wire or by using the syringe. Wire must be set into a layer of clear enamel on the surface of the piece on set into the metal clay pre-firing. If you use wire either use Pure or if Sterling any firestain must be removed by pickling or physically or it will spread into the enamel when molten. The fired enamel colour sheets are rough examples of the technique. |
| How do I use metal with glass ? Enamels are minute grains of glass that melt quickly (2-3 mins) at around 800C typically. At this temperature they fuse with the metal clay and form a colourful glossy surface. They can be used to make many pieces typically ; key ring fobs, cuff links, and other jewellery, but also coat ovens, breadbins, kettles and so on.
The enamels offered here are clean 80 mesh powders. Please ensure you buy the correct enamels... the metals ones are for use on silver, gold, copper and brass but NOT steels. The glass enamels are for use with art glass (Bullseye, Spectrum).
80 mesh refers to size of mesh that will only just allow a grain to pass... so 80 mesh grains will contain particles up that size. 80 Mesh is finer than castor sugar, but not as fine as icing sugar.
The enamels here are lead-free, but not all are...please check this before buying anywhere else. Safety precautions that should be taken include; should be used with face mask, wash hands after using, do not eat ot smoke while using., |
| How do i use metal clay with glass ? Metal clay is an ideal medium to display the stones in, but Glass Cabs can similarly be used in a similar way but care must be taken to fire the clay AS IF IT WERE A JUST A GLASS PIECE. This means that a firing schedule suitable for the glass which is more heat sensitive than the clay.
A multi-stage firing schedule that protects the glass from thermal shock is used
Seg1... rate 750/hr targ temp 600C hold 45 mins
Seg2 rate 999/hr targ temp 516C hold 0 mins
Seg3 natural cool
This prevents the cab cracking. Please note there can be some "yellowing" of clear glass... darker glass backs to your cabs will minimise discolouration. Glass should not be fired except in a kiln.
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| How can i use heat senstive stones ? Green stones are notoriously hard to fire - the oxides making the green colour are particularly heat sensitive. Many people avoid them completely, and general advise is to add the stone AFTER firing. However I have found that greens can be used if treated gently. The following methods improve the colour retention ;
1) Torch fire ( but keep the heat directed at the PMC and NOT the stone).
2) Kiln fire ; but with slow ramps up and down. Ramp up at 600C rather than FULL (999C) rate, and allow to cool naturally - i.e. do NOT remove pieces when hot and "crash cool".
Please take care though and if you have any doubt then set the stones after firing is done in bezels or using our settings.
I am just researching a range of colour-fast-at-temperature green stones ...watch this space. |
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