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SubscribeBracelet with COPPRclay™ and BRONZclay™
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Design Idea C61A
-- Designer --
Tammy Honaman, Author, Jewelry-Making Designer and Educator, Exclusively for Fire Mountain Gems and Beads®
To learn more about Tammy Honaman, read her jewelry artist success story here: : : Materials : : :
Copper and bronze metal clays have such rich color. I love working them both into one design. There are lots of ways you can make each of these charms--I hope you enjoy exploring and testing out your own ideas.
The design of the bracelet is based off of simple links. Rolling out clay and then forming the links is a little tricky as the clay doesn't like to be told what to do. Take your time, practice and soon you will have more links than you'll know what to do with..jpg)
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When creating designs like the "giraffe charm," it is best to use bronze as the base and fill in recesses or design areas with copper. This is due to the higher shrinkage rate of the bronze clay.
In this case, the shrinkage tends to equalize even though copper has a lower shrinkage rate than bronze.
When creating a design with a backing layer where the two different clays are stacked on top of each other, it is best to start with copper as bronze has a tendency to warp, which would cause the design to not turn out well..jpg)
''Condition BRONZclay and COPPRclay, How-To'' illustrated instructions ''Double-Strand Necklace with Copper Chain, BRONZclay and COPPRclay'' illustrated instructions
The design of the bracelet is based off of simple links. Rolling out clay and then forming the links is a little tricky as the clay doesn't like to be told what to do. Take your time, practice and soon you will have more links than you'll know what to do with.
Squiggle Chain Links and Charms
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Step 1
Make sure the work surface is free and clear of oil and any metal clay. Pinch off a piece of conditioned bronze.
Step 2
Using your fingers, roll the pinch into a snake. Place the snake onto the work surface. Using the snake roller, roll and gently press down on the snake, thinning it out until it is the thickness you desire.
Step 3
Cut a 5-inch length from the snake. Trim the ends at an angle so they taper.
Step 4
Using your fingers and tools (and water as needed), shape the section into a squiggle chain link.
Step 5
Set the link aside to dry. Repeat to make as many links as you need for your bracelet (plus a couple extra, just in case) as well as a few shaped for use as charms.
Step 6
Once dry, refine until smooth.
S-Charm
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Step 7
Make a thin snake. Cut a 6-inch length from the snake.
Step 8
Using the roller, taper the ends to a fine point.
Step 9
Roll one end in on itself, for 2 - 3 revolutions. Roll the other end in the opposite direction, until it meets up with the first rolled section.
Step 10
Shape accordingly.
Step 11
Form a hole in the center of one section to be used for hanging it after firing.
Step 12
Let dry. Refine if necessary.
Textured Charm
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Step 13
Pinch off a piece of bronze or copper clay. Roll out to 12-cards high.
Step 14
Oil the texture plate and place it onto the surface of the rolled out clay. Roll out to 9-cards high, so the impression is clean.
Step 15
Transfer the textured clay to a non-stick worksheet. Cut to your desired shape.
Step 16
Using an awl or straw, place a hole in the charm. Set the charm aside to dry then refine to a smooth finish.
Combining Bronze and Copper
When combining bronze and copper, there are a few guidelines which are best to follow for successful designs.When creating designs like the "giraffe charm," it is best to use bronze as the base and fill in recesses or design areas with copper. This is due to the higher shrinkage rate of the bronze clay.
In this case, the shrinkage tends to equalize even though copper has a lower shrinkage rate than bronze.
When creating a design with a backing layer where the two different clays are stacked on top of each other, it is best to start with copper as bronze has a tendency to warp, which would cause the design to not turn out well.
Circles and Waves Charm
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Step 17
Pinch off a piece of bronze, the size of a strawberry. Roll out to 16-cards high.
Step 18
Oil a deep texture sheet and place it onto the surface of the rolled out clay. Roll out to 13-cards high so the impression is deep and clean.
Step 19
Using a straw, place a hole in the charm. Set the charm aside to dry.
Step 20
Once dry, deepen the texture with tools. Fill in the texture with copper clay. Smooth out. Let dry.
Step 21
Sand the copper until the surface reveals the pattern. Refine to a smooth finish.
View instructions on creating drum beads.
View instructions on creating drum beads.
Firing Bronze and Copper
Bronze and copper metal clays must be fired in an oxygen-free environment in a kiln to achieve a proper sinter. Things to note:- Everyone's kiln will yield different results. Results from firing to firing within your own kiln may vary.
- It is best to test your kiln by firing copper and bronze test pieces, prior to firing the work you have spent time on, to determine what firing schedule works for your kiln.
- It is advisable to place a test piece in each firing. Try to bend and break the test pieces after firing. If they do bend or break, refire the whole pan then test the test pieces again once the cycle is complete.
- It is best to fire the copper and bronze metal clay pieces as high up in the chamber of the kiln as possible.
- Raise the pan inside the kiln by placing it onto stacks of pieces of kiln shelves or kiln feet.
- There are various firing schedules being used. Hadar Jacobson's firing schedule has worked well with my kiln, which is a front loader with a thermocouple located in the back wall, like the Paragon kiln, and has a programmable controller.
- A stainless steel pan and carbon or coconut charcoal are ideal tools for creating an oxygen-free environment. You should wear a mask when working with the charcoal to avoid inhaling the fine particles and dust.
1st Phase
Step 1
Pour charcoal into the pan until it is a little more than 3/4 full.
Step 2
Place test pieces into the charcoal so they are positioned along the back wall and sides of the pan. Avoid the front of the pan for front loading kilns as this area does not necessarily achieve the full temperature needed for a good sinter.
Step 3
Program the kiln to ramp up at the speed of 1750 degrees Fahrenheit to a set temperature of 1100 degrees F; hold for 30 minutes.
Step 4
Let the kiln come down to room temperature.
2nd Phase
Step 1
Carefully remove the pan from the kiln.
Step 2
Remove any charcoal that turned white during the firing.
Step 3
Using the same type of charcoal, add more to the pan, filling to the top, although not so full the lid doesn't sit flush with the top of the pan.
Place the lid on top.
Place the lid on top.
Step 4
Place the pan back into the kiln.
Ramp up at full speed to 1550 degrees Fahrenheit and hold for 3 hours. (If bronze clay blisters at this temperature, lower the kiln to around 1520 degrees.)
Ramp up at full speed to 1550 degrees Fahrenheit and hold for 3 hours. (If bronze clay blisters at this temperature, lower the kiln to around 1520 degrees.)
Step 5
Let the kiln come down to room temperature.
Step 6
Remove your test pieces. Try to break one of the test pieces to see if you achieved full sintering. If the test piece breaks, repeat the firing schedules again. Once the piece is fired, and you are sure the clay sintered properly (use a test piece to see how the firing went), decide if you are happy with the finish or if you'd like a brighter shine. If you are happy with the finish, the piece is complete. If you would like a brighter shine, brush with the steel brush or polishing papers in progressive grits against the surface. From there you can use the burnisher to bring out a higher polish, or you can place your pieces into a rotary tumbler with mixed steel shot and burnishing compound for a very high polish.
: : : Additional Resources : : :
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The pieces featured in the Gallery of Designs are copyrighted designs and are provided for inspiration only. We encourage you to substitute different colors, products and techniques to make the design your own.Permission to copy this instruction sheet is granted for non-commercial educational purposes only. All other reproduction requires written permission.
Please email copyrightpermission@firemtn.com for more information.
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Fire Mountain Gems and Beads is proud to feature your artwork, and we invite you to submit images of your favorite projects to the Customer photographs section. Here's how you can be included:
- Email your name and attached image to designs@firemtn.com
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- If you've named your piece, please let us know!
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- To best showcase your artwork, place dark designs on a light background and light artwork on a dark background.
- For additional photography tips, click here.
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