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iv
How to Use This Book
This handbook is intended both for beginners and experienced users of metal clay.
It introduces tools and techniques through projects, as I do when I teach hands-on
in the classroom. In this spirit, instead of beginning with a lengthy section describing
the tools and materials, I introduce the tool kit briefly at the beginning of the book.
I then open with a very detailed project, Collage of Textures, followed by a
thorough description of the finishing process of the piece prepared in the project.
These two chapters, which are also demonstrated on my DVD, Workshop at Textures
Studio, form the basis for the rest of the projects. My experience as a teacher tells me
that people who have completed the first project from beginning to end are able to
complete any of the other projects, regardless of their personal level of experience.
Most of the projects rely on knowledge acquired through previous projects, so the
book can be regarded as one continuous course.
The book is divided into two main sections, corresponding to the types of techniques
introduced: texturing and forming. The Forming section has two sub-divisions: one
focusing on using molds and the other on using flexible metal clay. I have not tried
to cover in this book all possible techniques of texturing and forming; I have focused
on those that have worked best in my years of experimentation.
New techniques are introduced through new projects. These include some basic
metal fabrication techniques that are required either to construct a piece or to
assemble it. Explanations of these techniques are aimed toward people with no
experience in metal fabrication. The index at the end of the book makes it easy to
find a specific technique whenever you need to use it. For readers who dont own a
required piece of equipment, the book presents alternative methods for completing
the project without it.
Any type of metal clay can be used for any of these projects. The book notes
thicknesses of layers for high-shrinkage and low-shrinkage clay. If separate
measurements are not given, the thicknesses are the same for both kinds of clay.
Sizes are given only for high-shrinkage clay. If you use low-shrinkage clay, you can
determine the size of each piece yourself, since the firing process will not change
their size by very much.
Following this introduction is a list of the basic clay tools required for the projects.
Finishing tools are introduced in the chapter Finishing (page 8). Throughout the
book additional tools are introduced and pictured. iii
Table of Contents
How to Use This Book
iv
Tool Kit
v
Texturing 1
Collage of Textures
3
Finishing 8
Concave Earrings
15
Landscape Earrings
18
Concentric Circles
26
Ocean View
29
House Earrings
32
Hinged Earrings
37
Miró Pin
41
Mountain View
44
Forming
48
A. Forming with Molds
49
Blouse 50
Treasure Bag
55
Just a Bag
58
Pasta Earrings
61
Pillow Pendant
64
Rocks 69
Hollow Box Earrings
73
Donut 77
Hidden Bail Pendant
80
Friendly Stone
82
Cocktail Glass
85
Inlay 88
Pill Box
91
B. Forming with Flexible Clay
94
Rubber Band Earrings
96
Twisted Washers
98
Cross-armed Earrings
100
Wire Earrings
102
Knots Bracelet
106
Open Weave
110
Woven Earrings
113
Three Hollow Forms
115
Forming with Molds and Flexible Clay
117
Index 122 The Handbook of Metal Clay: Textures and Forms
Landscape Earrings
21
Enlarge the holes with a file or
a bead reamer.
Attach the tubes to the
earrings with slip, dry, and
reinforce with clay.
After firing, cut one inch of 20-
gauge fine silver or argentium
sterling wire.
One end of the wire can be
balled up with a butane micro-
torch. The flame has two parts:
the outer darker part and the
light blue inner part. The
hottest spot is the tip of the
inner flame.
Hold the wire with cross-lock
tweezers at a 90° angle to the
tip of the inner flame until the
end of the wire balls up.
Remove the wire and cool it
down in water.
Insert the wire through both
tubes.
The size of the ball is
limited by the gauge
of the wire. If the ball
gets too big for the
gauge it will fall off.
To practice try balling
up different gauges.
Ball the wire a little,
ball some more, and
continue until the ball
falls off. This will give
you an idea of how far
you can go with every
gauge.
A wire balled up on
one end can be used
as a head pin. The Handbook of Metal Clay: Textures and Forms
Ocean View
31
11. Attach the bail to the top of the
picture with slip, dry, and
reinforce with clay.
12. Fire the piece and finish.

13. Set the stone as in the
Landscape Earrings project
(page 23).
If the stone does get
stuck in the bezel,
carefully drill a hole
at the back of the
bezel to push the
stone out.
Ocean View
by Linda
Milani.
The space for
the sun was filled with
resin enamel.
The piece on the left
was inspired by the
gate to Fort Mason
Center in San
Francisco. Use the
template on the left to
recreate it, and the
templates above for a
pair of earrings.
Enlarge or reduce the
templates as needed.