CLAYMANIA ART CLAY, Inc. PRESENTS:
Product Instructions
Non-Sculptural Translucent & Opal GlasClay Instructions-
Claymania Art Clay, Inc., Non Sculptural -Translucent & Opal GlasClay™ Featuring Uroboros™ FX90 and System 96 ® glass. Designed for firing temperatures between 1440 F and 1470 F. Read instructions completely prior to using. GlasClay™ in nature is very technical and each piece requires thought. If you are not familiar with working with, firing or fusing glass using traditional time and temps, based on the individual pieces, visit www.glassclay.com . We have a list of references to search the internet for more information.
-SAFE WORKING PRACTICES-
Always wear a HEPA particulate filter dust mask when mixing or sanding GlasClay™ . Do not use on or near food preparation or consumption areas.
Mixing Instructions:
1) Shake vial well, pour entire contents into
a small glass dish.
2) With a knife or spoon, cut in 1 ½ teaspoons of warm distilled water. (Tap water may be used, however the minerals present in tap water may alter the color of
the clay.) Mix well. Water measurements may vary slightly, depending on the glass color and your environmental humidity. 3) Slowly add another ¼ teaspoon of water. Apply a small amount of Olive Oil to your hands and remove the mixed clay from its bowl for “conditioning”. If it is sticky, add a little more olive oil to your hands. If too dry, you can sprinkle water on your hands and work it in slowly, until the clay feels elastic. Never add all the water at once. It is easier
to add more water than to take some out! If too much water is accidentally added, leave it open to the air for the extra moisture to evaporate.
4) Knead the GlasClay™ by balling it up.
To “condition”, roll and squeeze between your palms, until it feels like “clay”. It should be smooth and pliable, not gooey. Cover with clear plastic wrap when not in use. Store GlasClay™ in a re-sealable, airtight container. A sandwich bag is fine. Best when used within a week of mixing, it may last 3 - 4 weeks with proper storage.
5) Work GlasClay™ on a silicon mat for results. Any type of plastic is ok, but silicon works best. Wax paper may be used as a last resort, and will not hold up well to repeated use and may need to be replaced often. Roll with a “fondant ”, Delrin, or Teflon® type roller. Do NOT use wood.
Apply a drop or two of olive oil to the rolling
surface, and roller, to prevent clay from sticking. Often just a touch or water can
assist in preventing sticking. Use olive oil sparingly!
Working Instructions:
1) Roll out conditioned Translucent or Opal GlasClay™ to a thickness of at least 3/8”. Pieces smaller than 6” x 6” should not be more than ½” thick if you want to make a detailed design.
2) Put a piece of clear plastic wrap onto a piece of cardboard or other surface that allows you to easily move your work.
3) Cut out designs with a tool or cookie cutter. Place shapes together, securely against each other, onto the clear plastic wrap, to form a stained glass look. Wet sides of each piece, prior to placing against another piece. Keep all pieces the same thickness. Save a small amount of each
color for “repairs” in case your work pulls apart slightly while drying. When finished, wet hands thoroughly and rub firmly across the surface of your work. Cover with another piece of clear plastic wrap.
4) With a roller, carefully roll the surface of your GlasClay™ work between two sheets
of plastic wrap. Do not press hard enough to reduce the thickness. The idea is to cause
all pieces to adhere well,& press out any air pockets that may have formed.
5) Remove the top piece of plastic wrap
and allow to air dry, to the touch.
6) Lightly oil a piece of waxed paper large enough to cover the work, and place on top of the piece. Put another piece of cardboard on top of the waxed paper, pick up the entire piece, and flip over, causing the cardboard with the clear plastic wrap to now be on the top, and the waxed paper to be on the bottom. Remove the top cardboard and carefully remove the clear plastic wrap.
Allow the piece to completely air dry.
7) You may place your work on a food dehydrator to facilitate fast drying.
FIRING INSTRUCTIONS – Farenheit
Ramping & Annealing – (You must convert
for Celcius temperatures.) Read Completely!
AVERAGE RAMP FOR JEWELRY AND SMALL ART PIECES (6” x 6” x 3/8” – ½” thick or less) All ramp, hold and firing times and temps are subject to variation, including your working elevation, thickness of your work, size and type of kiln and your desired outcome. Adjust firing times, and use appropriate cool down times and temps.
Test fire a piece and record the results
for your reference. Some colors may tolerate faster ramp times and higher temperatures.
Firing- Schedule: Accommodates all colors.
Place dried piece(s) on a prepared kiln washed shelf or firing paper, leave space between each piece. Follow all 7 steps!
1) Ramp @ 340 to 340 Hold 1hr.
2) Ramp @ 340 to 600 Hold 1hr.
3) Ramp @ 600 to 1250 hold 30 min
4) Ramp @ 1000 to 1450 hold 30 min.
(You may ramp as low as 1440 F or as high as 1470 F. Test your kiln with the product.)
Annealing- (Slow Cooling for Stability)
5) Ramp @ 300 F to 1140 F. Hold 45 min.
6) Ramp @ 200 F to 940 F. Hold 45 min.
7) Ramp @ 300 F to 600 F. Hold 45 min.
Cool naturally to below 100 F., open kiln
Tips and Information:
1)All GlasClay™ will fuse to 90coe or 96coe respectively.
2) Use standard annealing practices for large pieces. Small Jewelry pieces may anneal as short as 5 – 10 minutes at each temp.
3)To make “slip” place a small amount of GlasClay™ into a small glass container.. Add water a drop at a time and stir until it is a runny paste consistency.
3) Attaching wet GlasClay™ to wet GlasClay™ - Moisten areas to be attached with a wet fingertip., press together. Use a small amount of slip if needed. 4) Attaching wet GlasClay™ to dry GlasClay™ - Moisten the section of dry GlasClay™ with a wet fingertip, observe moisture suck into the dry area. Add a bit more moisture to the area if it does not appear to be well hydrated. Re-wet the area of the wet GlasClay™ you wish to attach. Press the two together. If needed, use a small amount of slip as if it were glue. Allow to dry thoroughly prior to firing. 5) Attaching dry GlasClay™ to dry GlasClay™- Mix a small amount of slip. Moisten the section of dry GlasClay™ on each piece, with a wet fingertip. If needed, add a bit more moisture to the area(s). Place slip on one of the two areas and press both sections of re-hydrated GlasClay™ together. Dry thoroughly prior to firing.
6) Do not attach Translucent GlasClay™ to Opal GlasClay™ until you gain experience attaching pieces of like types. Experiment with colors and firing times. The two may pull away if not thick enough or thoroughly wetted and attached prior to drying.
7) For intricate designs to fuse onto glass tiles, dishes, or other glass pieces, pre-fire shapes for use in fusing to items of the same coe.
8) For high relief or three dimensional effect, Sculptural Opaque GlasClay™ items that have been fired to the desired end result, may be tack fused to Non Sculptural Translucent and Opal GlasClay™ at 1225 F. Sculptural Opaque GlasClay™ sold separately, fires between 1225 and 1350.
If you have any comments / questions please let us know. We respond personally to every question and we value your comments. www.glassclay.com
Translucent & Opal GlasClay™ 2010©
The following technical information is important for successfully using this product. GlasClay™ is a “firing medium” because it contains glass, and behaves like clay. It fires out as a form of glass, but do not confuse it with sheet glass, glass stringers or glass frits. Metal clays are also “firing mediums”, but do not behave as the plain metal does. Use of it, must be learned.
This information is designed for ALL users of GlasClay™. Some are craftsman, some are sculptors, some are ceramicists or potters, and some are glass artists. This information is written toward giving information to those that have not worked in glass before. The simplicity of the information is not intended to insult those that are familiar with much of the terminology. However, just because the reader may be experienced in working with glass, it cannot be assumed that what you may know as a glass artist will automatically work in the same way with this product.
GlasClay™ does not work like just plain glass, or glass frit. The binder and the amount of air that is trapped in the GlasClay™ after it is mixed, causes this product to have it own quirks. The desired outcome / condition of the finished product may vary from artist to artist as well. Some want glossy bright colors, some want matte or sugary textured surfaces…. Some want hollow works of art, high relief or 3 dimensional designs, others only want to use it in molds so they can fire in production quantities without using a multitude of slump molds. Whatever your personal desires are, you can achieve them with GlasClay™.
“Structural” GlasClay™ comes in 2 coes and many, many colors. Some of the colors are opals and some do not have the word “Opal” after their names. Those that do not have opal after their names, will fire as an “Opaque”. This means it will not become see-through or translucent. The plain frit powder of that very same color may turn translucent if used in a different medium than GlasClay™; however it does not do so in the product “Structural” GlasClay™.
“Structural” GlasClay™ has a lot of air trapped in the frit due to the fine powder of the frit and the fine powder of the binder. The Opaque colors do not generally fire to a mature look, at the same end temperatures as the Opal colors. This is due to chemicals in the glass powder itself. Therefore, making a project using both colors in the same initial firing, could cause different looks to the glass, that you may not want. It is possible that the end temperature may be too high for one color or the other.
We encourage testing and experimentation to be successful with your end project. If you want to use Opal and Opaque colors together, make the pieces of your project first, and do not place the two different kinds of GlasClay on the same initial piece. Fire the pieces separately, and when finished, put them together and fire again at a temperature around 1220-1230 so they will “tack- fuse”. There is no “one” perfect temperature for any one color. Not all people want the same look as the other. Keeping notes for yourself is important to gain the same results again and again, after you have learned how your kiln works with the GlasClay™ product.
Be aware that many kilns fire at a temperature not true to the pyrometer…. For example, if the pyrometer says the inside temperature of your kiln is 1280F, it is possible that is actually 1380F or the other way around. There often is a 100F degree difference between kiln brands. Test firing the GlasClay™ colors individually, in your kiln, and making careful notes could be critical to your success. Geneva Perkins wrote the first (and only at this date) book on the use of the product GlasClay™. In the book she discusses several types of kilns and gives the firing schedules for them.
GlasClay™ shrinks, about 15% from the original size, when fired. The initial firing ramp is designed to allow the maxim possible amount of trapped air, to escape from the piece, and let the binder burn out….. BEFORE a hard “skin” forms on the top of the piece, sealing it over, no longer allowing trapped air to release. If air remains trapped in your piece, it may puff up, and distort slightly in shape. Depending on your choice end temperature, some of that trapped air could or could not release later in the firing process. By making small “kisses” (similar to chocolate kisses) of GlasClay™, with a curled over top, you can have test pieces for your personal firing information. If the pieces fire too hot, the curled top will soften or slump. This indicates what could happen to an intricate high relief or hollow object if fired too hot. Items not fired hot enough, may be re-fired at a higher temperature, and re-fired again and again if desired, until you reach the ideal temperature for the look you are trying to achieve.
For example, an 8” fiber kiln from Jenken Kilns will take GlasClay™ to an end temp between 1350F – 1380F with nice gloss and without losing much detail, so will a Studio Pro Even Heat. If you are using a Paragon 2, firing between 1280F and 1330F will bring a very similar result. Both ceramic kilns and glass kilns may be used. A digital pyrometer with ramping sequence capabilities is needed regardless.
You may use other products with GlasClay™ to achieve some of the effects you are looking for. Enamels or additives such as mica powder can bring about some dramatic looks. Adding stones or metal findings that can tolerate the firing temperatures will also add dimension and texture to your work.
Many glass artists make and use their own versions of a glass style of clay that may be molded and fired. There are several methods, including freeze-n-fuse, Egyptian Paste. They are not same as the commercial product, GlasClay™. You may use GlasClay™ in a similar fashion; however it is designed for “Sculptural”, “Hollow” and “High Relief” work. Because it can maintain its hollow shape during firing, it stands apart as a “Unique” product.
©2011 Claymania Art Clay, Inc.
Claymania Art Clay, Inc. Messing Alkymi™ BRASCLAY™ Bronze
Clay, Copper Clay ™- Instructions
DO NOT OPEN UNTIL READY TO USE !
Follow mixing instructions carefully, and use product immediately after opening metal powder. The humidity in your workspace affects the metal powder. Oxidized metal clay will not sinter properly, and may look like burnt toast after firing. Keep any unused portion tightly wrapped in clear plastic wrap, in an airtight container. Use within 24 hours.
Mixing Instructions- Pour contents of both containers into a glass dish and
mix well. Discard the oxygen absorbing pillow pak. Cut in
approximately 1 ½ - 2 tablespoons of water, until a dough like consistency is
achieved. NEVER add the water all at once. It is easier to add more water than
to take some out. The best way to get a feel for this is to first mix a small
portion. (If you do not wish to mix it all at once, be aware the product may oxidize after exposure to the air and humidity in the envlronment. Place unused dry metal clay in a resealable plastic bag, & press out all air. Store is a dry,dark place. Use as soon as possible. Copper Clay and BrasClay are both more sensitive to climate than Bronze, and will oxidize more rapidly.)
Working & Drying Instructions-
Apply a small amount of Claymania Hand Conditioner and Mold Release, sparingly to your hands. Ball up the metal clay mixture and roll it repeatedly and vigorously between your palms until it feels like dough or clay. If it is too dry and crumbly to condition, add water a drop or two at a time to your hands and work it into the metal clay until the proper consistency is achieved.
Roll out and work Bronze Clay, Copper Clay or BrasClay™ on a silicon or non-stick plastic surface. Lightly oil your working surface and rolling tool with olive oil or Claymania Hand Conditioner and Mold Release. A Delrin roller, or other non-stick rolling tool may be used. Make your own mold from Claymania RTV Mold Putty! Try imprinting with a Claymania Replica Ancient Jewelry plate or an Original one- of-a-kind Ancient Jewelry plate.
Claymania Art Clay metal clay can be rolled as thin as
a playing card or up to 3/16” thick. For hollow or three-dimensional work, it
can be placed over or around fillers, such as cork clay or cellulose based
green floral foam. You may also use
lightly oiled objects such as a ping-pong ball, to form flowers, etc. Lightly oiled RTV or other molds may also be
used. Roll the metal clay to the desired thickness, press into the mold, trim
and allow to dry face down on a food dehydrator for a minimum of 24 hours, and
36-48 hours to be absolutely sure! . Carefully remove from mold after 12-24 hours, and allow to dry an additional 12-24 hours prior to
firing. We cannot stress enough how
important it is to thoroughly dry Claymania Art Clay, Inc.‘s metal clays prior
to firing. We use a hot air fan blown food dehydrator. Rotate position of items from outside to inside, and top tray to bottom tray throughout the drying process. Turn them over intermittently as well.
Metal clays will puff up if not bone dry inside. Whenever possible, clean the rough edges of your work before firing. Remember, after firing it will require filing or grinding the metal to remove sharp or rough edges.
“Fool Proof” Firing Schedule – Metalmania Metal Clays Copper, Bronze & Brass, by Claymania Art Clay, Inc. Developed by Geneva Perkins, West Of The Moon Art Gallery, used with permission.
Stage 1: PRE-FIRE
1) Pre-fire item(s) (any of the three metals) by placing pieces on a bare shelf in your kiln. Leave at least ½” space between each piece. Pre-firing allows the binder to completely burn out and cover the object in carbon, protecting it from oxidation at this stage. ALLOW KILN TO COOL NATURALLY AND COMPLETELY BEFORE REMOVING PIECES TO PLACE INTO THE FIRING PAN.
2) Ramp kiln @ 650 degrees F to 1000 degrees F. Hold 2
hours. This will burn the binder and
cause a carbonized surface to form a protective cover on your work. If you take it to 1100F it is too high and
the carbon will burn away, causing the piece to oxidize. Let cool. Be very careful when handling
pre-fired objects. They are delicate at this stage. Carefully transfer object(s)
to a firing pan filled with activated coconut charcoal. Do not use other types of activated carbon
with Brass or Copper. Alternative to using activated charcoal in
firing pan: Carefully wrap item in several layers of newspaper. Place shredded
newspaper or cardboard in bottom of firing pan. Place wrapped item in pan and
cover with shredded newspaper or cardboard. Seat lid firmly on pan. Stainless steel firing pan OR a kiln safe fiber firing container may be used.
Stage 2: FOOL PROOF FIRING SCHEDULE
–
A) Use a
stainless steel firing pan that fits into your kiln. The pan should have a
properly fitting lid. If using activated charcoal, the amount of charcoal used
and the placement of the pieces in the pan is important. Fill the bottom ½” of
the pan with the proper activated charcoal. Place BrasClay™ items in pan, ½”
away from the sides, and ½” away from each other. Cover items with ½” of
charcoal. Do not fill firing container completely with charcoal. After placing ½”
over the last layer, there should be at
lease ½” - 1” or more of air space between the top charcoal layer and the pan
lid. If using newspaper, follow instructions in Stage 1 Pre-fire, item 2.
B) Place firing container into kiln, and follow ramping instructions.
FOR BRASCLAY™:
C) Ramp at 380 F to 1750 F for BrasClay™ with a Red Brass color, hold 4 hours. For a Yellow Brass color, Ramp @ 380 F fire to an end temperature of 1550 F, hold 4 hours .
D) Let kiln cool naturally. Do not open kiln until completely cooled. Brass can oxidize rapidly if air hits it while still hot.
E) Metal pan is HOT until completely cooled. Use proper protection if handling a hot pan.
For Copper Clay™ , or when Copper Clay ™is added to BrasClay™ for a Two-Tone metal look-
Follow Stage 1 instructions for the Geneva Perkins Fool-Proof Method of firing.
Follow Stage 2 instructions A & B
C) Ramp @ 650 F to 1750 F, hold 4 hours.
D) Let cool naturally until kiln temperature drops. Do not open kiln until completely cooled. Brass and Copper can oxidize rapidly if air hits them while still hot.
E) Metal pan is HOT until completely cooled. Use proper protection if handling a hot pan.
For Bronze Clay, or when Bronze Clay ™ is added to BrasClay™ for a Two-Tone metal look-
Follow Stage 1 instructions for the Fool-Proof Method of firing.
Follow Stage 2 instructions A & B
C) Ramp @ 380 degrees F to 1550 degrees F, hold 2 hours.
D) You can cool fast to 1,000 degrees F if you want to, or let cool naturally until kiln temperature drops. Do not open kiln until completely cooled. Brass and Bronze can oxidize rapidly if air hits them while still hot.
E) Metal pan is HOT until completely cooled. Use proper protection if handling a hot pan.
Important Notes: When using activated coconut charcoal with Copper Clay ™ or BrasClay ™, it should be replaced after approximately 20 uses. Activated coconut charcoal lasts for approximately 25 - 30 uses or longer with Bronze Clay.
Original Claymania Art Clay Inc. Firing Schedule for
BrasClay™- (without pre-firing)
Use a stainless steel firing pan with a properly fitting lid. The amount of charcoal used and the placement of the pieces in the pan is important. Fill the bottom ½” of the pan with the proper activated charcoal. Place BrasClay™ items in pan, ½” away from the sides, and ½” away from each other. Cover items with ½” of charcoal. Do not fill firing pan completely with charcoal. After placing ½” over the last layer, there should be 1” or more of air space between the top charcoal layer and the pan lid. Place firing pan in kiln.
1) Ramp kiln @ 650 degrees F to 650 F, hold 1 hour.
2) Ramp @ 650 degrees F to 1300 F, hold 1 hour + or - depending on the size and thickness of your work.
3) Ramp @ 450 degrees F to an end temperature of 1750 F, hold for 3 hours, + or - depending on the size and thickness of your work.
For a different end color of the Brass, you can fire to an end temperature of 1550.
Cooler ramps and longer holds are ok for larger work or firing multiple pieces.
Stainless steel firing pans will eventually need to be replaced. Inspect your pan after each firing. Severe warping that does not allow the lid to seat properly, or metal fatigue could be an indication that it needs replacing.
Questions or comments may be directed to- contact@glassclay.com or contact@metalmaniametalclay.com
© January 2011 Claymania Art Clay, Inc.
Messing Alkymi ™ BrasClay™ Copper Clay ™ Bronze Clay
BY METAL MANIA METAL CLAY™
A Division of Claymania Art Clay, Inc.
Claymania RTV Mold Putty Instructions- Mold in Minutes
Instructions: Mixing Time 60 seconds / Working time 3 minutes or less / Cure Time 10 minutes
You may mix either by weigh or by volume. The ratio is one-to-one. Measure out the desired quantities ofPart A and Part B. A visual estimation is usually sufficient. Prior to mixing the putty, have the item you wish to copy in a clean dry state, and prepare slightly more putty than you think you will need. Extra putty can be added later if necessary, but you must make sure this does not create ridges in the mold. Knead part A & B together for about 60 seconds, or until the color is uniform. Be careful NOT to mix more than can be applied in 3 minutes. Immediately after mixing, press material into desired surface. Be careful not to trap air between the putty and your object. Ambient temperature will affect the cure rate. Warmer temperatures cure more rapidly than cooler temperatures. Provided you are not allergic to silicones, silicone mold putty is safe for use and does not give off toxic fumes. This is food grade material. It is safe to use barehanded. Latex-Nitrile-Vinyl gloves may inhibit surface cure and will result in a tacky or gummy surface. MSDS available by request at www.glassclay.com . If stored in its original air tight packaging in cool, dark conditions, Claymania Mold Putty will last for more than a year. It is important not to leave it exposed to air.
Claymania Pickle Magic™ Instructions-
Boil 2 cups of water (distilled works best) in a stainless steel or glass container. Mix in 3 tablespoons Pickle Magic. Add your fired metal clay items and turn heat down to a gentle boil. (A stronger solution may be used for stubborn fire scale.) Leave items gently boiling in the solution for about 5 minutes. Remove items and rinse in cool water. Items are now ready to be finished in any manner of your choice. (Tumbled, burnished, buffed, etc. May be sealed to prevent further oxidation or patina development if desired.) Pickle Magic™ is a food safe, sink safe alternative to traditional chemical “pickles”. It may be used several times, prior to safe disposal in any drain. May also be used in a pickle pot, ½ cup Pickle Magic™ to 6 cups water. When liquid turns blue, it has become saturated with dissolved debris and should be discarded.
Claymania Hand Conditioner & Mold Release Instructions-Claymania Hand Conditioner and Mold Release-
Use this product sparingly, a little goes a long way! Apply a light coating to the surface of your hands prior to handling Claymania Art Clays. If needed you may also apply a light surface coat to your rolling tool and rolling mat. If using a mold to form Claymania Art Clays, apply a light coat of Claymania Hand Conditioner and Mold Release to all mold interior surfaces. It should last for several uses of the mold, one after the other. Be sure to keep your mold clean. To avoid cross contamination, wash, dry and re-apply release, before changing types of Claymania Art Clay.
