Here's a new ring-in progress, formed by
carving the silver clay at the dry stage.
After firing in the kiln it was dipped in
Liver of Sulphur solution to darken the lower
areas giving greater contrast to the burnished
Part way through the carving process I began to make
smaller scored lines and notches in some areas trying
to echo and amplify the lines and irregularities seen in
the surface of the fingers. I like the idea of pieces that
sit well with the characterful fissures of use and age.
This is one interesting aspect of making it up as you go
along, you allow space for new things to come up.
I was also using the irregular slight dips and hills of the
simple clay shape to determine where and how I was
carving into the clay. The deeper carved areas set up
natural weaknesses and tensions in the clay which can
cause cracking when you fire the piece, and this happened
in one place on the inside surface.
but this can easily be righted by refiring with oil paste
in the gap, which forms a very strong bond fusing with the
The look here is influenced by work
made using lost wax casting technique, something I
would love to have experience of and access to, but with
silver clay I enjoy that you often find your own ways around
technical difficulties to make a fine silver object without much
equipment, it can all be done in a very small kitchen.
more silver clay jewellery here
metal clay info