This page has links to websites that have valuable information, tutorials and projects about adding patina and colour to metal clay.
All links open in a new window.
Adding Gold, Aura 22, Gold Paste
Cold Inlay Powders
General Patina Recipes
Inks and Paints
Using Liver of Sulphur
General article about adding a range of colouring techniques to silver clay.
Does what it says on the tin!
Patina formulas for brass, bronze and copper.
This great blog post by Laura Bracken shows the results of testing a number of different sealents for colouring on metal. Very useful for anyone working with colour or patina.
Short and useful tutorial on how to use liver of sulphur without dipping the whole piece. This is especially useful if you have a piece you want to patina in one specific area.
Short tutorial on using Liver of Sulphur to add colourful patina to your metal clay projects. Includes useful safety and usage tips.
Perma Blue is found in the US where ever gun supplies are sold, so check all the sports stores. The chemical name - Selenium Dioxide.
Use this tutorail to learn how to paint an antiqued or verdigris patina on raw brass findings, stampings, and filigree.
Blue Window Cufflinks - Rosa Martha Celorio
This great intermediate metal clay tutorial is free to view on the Cre8tive Fire website. Try your hand at enameling with these simple yet elegant enameled cufflinks.
Dichroic glass is simply beautiful. Often referred to as "dichro" or "dicro," the term refers to multiple ultra-thin microlayers of metal oxides which are evaporated onto the surface of glass in a vacuum chamber. These oxides change the way that light is transmitted and reflected, so that as you turn the glass, the color changes. A dichroic coating appears to have additional colors when you turn it and view it from different angles. A piece of dichroic glass may appear one color when you look at it straight on, but different colors when viewed from the side or at an angle. The exciting news is that glass is not the only material that can be coated with dichroic material -- paper can be coated with dichroic material as well.
Enamel on copper domes.
Enameling on fine silver metal clay, excerpts from the book: Enameling with Professionals by Lilyan Bachrach.
Basic enameling process on copper.
Great tutorial with pictures showing the process of adding designs to enameled pendants. Very thorough tutorial and easy to follow.
It may be a cliché, but enameling is one of those techniques that takes a minute to learn, but a lifetime to master. If you've ever wanted to try enameling, don't be intimidated, it's very easy to get started.
Short article with useful tips for designing with enamel in mind for Metal Clay Guru.
Great tutorial from Metal Clay Guru. Shows in easy step-by-step detail how to make a pendant and then enamel it.
Useful explanation of enamelling terms from Karen L Cohen
Well explained project to make metal clay earrings coloured with Thompson enamels. This tutorial uses the technique of mixing the enamels with the metal clay to create coloured clay. Useful tips are given for what colours to use.
Article about basic enameling using a torch. Lots of useful information.
So you'd like to try your hand at enameling but don’t have a kiln? Lets start torch enameling! Easy to setup, fairly inexpensive and so much fun!
This tutorial is aimed at metal clay and enameling artisans. It outlines the process for enameling on hollow forms and assumes that you know the basics of enameling, such as preparing enamels, safety measures etc.
This page from the Copper.org website has several articles one of which is a great outline of how Debra Weld creates copper panels using Prismacolor pencils. These are then attached to metal clay for the finished article.
Article about adding colour to metal clay work using Prismacolor pencils for Metal Clay Guru.
Useful article from Metal Clay Guru
Useful article by Pam East for Metal Clay Guru
Article about using Aura 22 by Jeannette Landenwitch for Metal Clay Guru
Learn how to add layers, embed sterling silver wire, and apply gold leaf Keum Boo to fine silver earrings in this tutorial from Janet Alexander.
Aura 22 and PMC3 combine in this great piece. Finish with a bail on the back to create a necklace or finish it as a pin.
Silver and gold pendant uses Aura 22. From PMC Connection.
Article by Mary Ellin D'Agostino for Metal Clay Guru.
This blog post is based on sound design principles and uses scrap clay to produce colourful hearts. The technique could easily be applied to polymer for inlay into fired metal clay pieces.
Interesting article about inlaying polymer clay designs into fired metal clay jewellery from Lorrene Baum-Davis.
Interesting article about the origins of Keum Boo on Ganoksin. This article also talks about the mechanism by which Keum-boo works. It's a theoretical article and will be useful for anyone who wants to know more background on this ancient method of adding gold to silver.
Each cold inlay powder is a mix of pure metal powders. Hadar’s Cold Inlay Powders are currently available in silver, gold, and black colors. The technique is called “cold inlay” because no firing is involved. Only the piece to be inlaid is fired. The inlay is done by filling the indentations of the fired piece with the inlay powder and adding a drop of CA (cyanoacrylate) glue.
Cold inlay allows you to combine metal powders that cannot be fired together because of different firing temperatures, different shrinkage rates, and compatibility. It can also be used for repair in a fraction of the time it takes to repair by firing, and it can be used in materials which cannot be fired.
Once sanded, the inlaid powder looks just like fully sintered metal.
For a demonstration of the process, please download the Instruction Manual for Hadar’s Cold Inlay Powders.
This useful, well illustrated article explains how to transfer images onto resin clay.
Art Beads - How to use Gilders Paste
Good step by step guide with pictures of how to use Gilders Paste.
Useful tutorial on how to reconstitute gilders paste that has dried out.
Intermediate to advanced project. Very clear instructions and a beautiful outcome.
Laughing Girl Arts - UV Resin Tips and Hints
The following tips and hints were posted on the Yahoo! Metal Clay Group by Linda Gaughran at Laughing Girl Arts.
Heat the jar of resin before use. I find it too thick to flow easily
right out of the jar but when I heat it it liquifies and flows easier.
I put the open jar on my mug warmer with the lid sitting lightly on
top to block light and stir it every 30-60 seconds until it feels
loose. When it gets where I want it, somewhere between "doesn't flow" and "runs off the toothpick before I can get it to the piece", I turn the mug warmer off and let the jar sit there as I work. Reheat as needed.
I use a toothpick or bamboo skewer to pick up a blob of resin from the jar and then drop onto my piece. The blob stays attached to my skewer until I touch it down on the piece. You may need to coax the resin to the edges of your piece with your toothpick. Be sure to wipe up any threads or spills as they will harden on the piece too.
Remember light cures it so don't leave the lid off the jar very long if you're working in bright light.
I'm afraid of undercured resin so I usually give it two rounds of time under my auto-shutoff manicure lamp just to be sure. Probably not necessary but it eases my mind. That works fine for transparent colors too. I haven't done opaques.
I put the bottom of a cardboard shoebox upside down over the manicure light so that the UV light doesn't leak out. And I try not to look at it when it's on. Bad for your eyes.
Don't let the sticky residue on the top of the cured resin throw you. It comes off perfectly with just a swipe of the UV Resin cleaner. Conversely, if you're doing multiple layers you don't need to clean off the sticky residue between layers. It is really sticky though so don't get dust in it between layers.
Great tutorial in Russian but with pictures which clearly explain the process.