http://cs.artjewelrymag.com/artcs/forums/32.aspxSilver clay, gold clay, bronze clay, and copper clayenCommunityServer 2007 SP2 (Build: 20611.960)http://cs.artjewelrymag.com/artcs/forums/thread/53309.aspxThu, 29 Jan 2009 13:48:01 GMT9605ba16-a6fd-4374-97d6-a658edea507a:53309gagedesigns0http://cs.artjewelrymag.com/artcs/forums/thread/53309.aspxhttp://cs.artjewelrymag.com/artcs/forums/commentrss.aspx?SectionID=32&PostID=53309Hello, I have an article in the new issue of Art Jewelry. I usually don't announce such things, but there were a couple Editorial liberties taken and I'd like to clarify a few points about this process and provide the pointers I consistently present to my students when I teach this technique: (Of course these comments only make sense if you add them as notes to the article.) * I recommend that you ramp your kiln to 1650°F for 2 hours. In my experience, this ensures that the clay is fully sintered and results in more durable jewelry especially needed for open space or fiigree work as in this technique. * Although one method for joining wet-to-wet metal clay components is to use water to active the binder and pressure, I suggest using metal clay paste in addition, which I've found provides a more reliable bond. * It's possible that a thin film of fired metal clay will form from the dust remaining on the surface or in the pores of the combustible clay parts of your design. Don't worry; you can use a needle tool to "pick out" these bits of fired clay to reveal the negative spaces of your design." There is also a follow up project on how to make a lentil bead on here on the web site. http://tinyurl.com/b94y29 Be sure you read the magazine article first which gives you the basics and is required reading in order to do the project on their site. Please, Please post or send me pictures for those that try the technique. I will be presenting this technique over the year in several formats and I'd love to share the work of others, not just my work. Happy Creating, Holly