Yes, silver clay contains real silver particles and transforms into pure silver after firing (usually 99.9% pure silver, also known as fine silver).

Silver clay contains microscopic silver particles, a binder and water. The binder keeps the particles together, making the clay soft and workable. During firing, the binder burns away and the water evaporates, leaving only pure silver behind.

This makes the finished piece real silver that can be treated in the same way as traditional silver. You can solder, polish, oxidize and finish it just like other silver jewelry.

Art Clay Silver 950 Professional consists of 95.0% real silver after firing. The remaining percentage mainly consists of copper.

Silver clay can often last for several years in unopened packaging when stored under proper conditions. Once opened, the clay may dry out over time if it is not sealed properly.

Store silver clay airtight at room temperature, protected from direct sunlight, heat and moisture. Storing silver clay in a refrigerator is generally not recommended.

Silver clay and metal clay are not natural clays taken from the ground. It is called “clay” because the material is soft and moldable.

Silver clay and metal clay consist of three components:

• Microscopic metal powder
• Binder
• Water

The binder holds moisture and keeps the metal particles bonded together so the clay remains smooth and workable.

During drying, the water evaporates naturally or with the help of a heat source. This changes the clay from soft to hard.

It is very important that all moisture has evaporated before firing. Remaining moisture may cause the piece to crack or break during firing.

The binder mainly consists of cellulose and burns away during firing when exposed to high temperatures for a sufficient amount of time.

Yes, all Art Clay Silver products are safe and non-toxic and carry the ACMI “AP” seal.

The manufacturer of Art Clay Silver is a member of the Art & Creative Materials Institute (ACMI). This certification means the product has been tested for chemical and toxicological safety and is considered safe for normal use.

Art Clay Silver products do not contain nickel.

The strength of the final result is partly determined by the hardness of the metal. Copper and bronze, for example, are stronger than fine silver. The firing temperature and firing time also play an important role in the strength of the finished piece.

During firing, the metal particles sinter together. The longer the correct temperature is maintained, the stronger the bond between the metal particles becomes.

For regular Art Clay Silver we recommend a firing temperature of approximately 820°C for at least 10 minutes. For additional strength, a longer firing time of 1 to 2 hours is recommended.

New on the market is Art Clay Silver 950 Professional. This clay consists of a mixture of 90% fine silver, 10% copper, binder and water. After firing, the final result contains 95.0% silver and is approximately 60% stronger than regular fine silver clay. This makes it especially suitable for commissioned jewelry, professional sales and designs requiring extra strength.

Art Clay Silver 950 Professional must be fired in two stages:

• Stage 1: 500°C for 10 minutes
• Stage 2: 870°C for at least 1 hour

Allow the piece to cool completely before removing it from the kiln.

Yes, silver clay shrinks during firing because the water evaporates and the binder burns away.

The exact shrinkage depends on the type of silver clay, the firing temperature and the firing time.

Art Clay Silver Regular shrinks on average approximately 9–10%.

Art Clay Silver 950 Professional shrinks on average approximately 11–13%.

When designing rings, bracelets and other accurate sizes, always take this shrinkage into account.

After firing, a white matte layer appears on the surface of the silver. This is normal for fine silver.

The white color is caused by the microscopic structure of the fine silver after sintering.

The white layer can be removed with a fine steel brush, polishing materials or an agate burnisher, revealing the silver shine underneath.

The smoother and better polished the surface becomes, the stronger the silver shine will be.

Yes, silver clay can melt when the temperature becomes too high or when the piece is held too long directly in a hot flame.

Especially thin parts such as edges, small details or protruding elements can overheat more quickly.

During firing it is important that the silver becomes hot enough to sinter, but not so hot that it actually begins to melt.

When using a torch it is therefore important to keep the flame moving gently and constantly so the heat is distributed evenly.

Many heat-resistant stones can be fired together with silver clay, but not all stones are suitable for high temperatures.

Heat-resistant Cubic Zirconia, synthetic spinels and various NANO-gems can usually be fired safely. This information is clearly stated with our stones in the shop.

These stones can be placed directly into the clay by simply pressing them into the clay. Make sure the stone does not protrude through the back. If necessary create a raised setting using clay or syringe paste.

Larger stones from approximately 6 mm often fire best when an opening is made underneath the stone, this reduces stress caused by shrinkage during firing.

Clean the stones well before firing because clay may leave a layer or residue on the stone.
Allow your piece to cool in the air because the stone may crack if it is placed into cold water while still hot.

Many natural stones are sensitive to heat and may discolor, crack or lose their shine during firing.

When in doubt it is safer to set stones after firing.

Always follow the temperature recommendations of the stone manufacturer or test the stone separately before placing it into your workpiece.

Cracks in silver clay can have several causes.

Common causes are:

• Drying too quickly
• Uneven thickness of the workpiece
• Too little moisture in the clay (dried out)
• Air bubbles in the clay
• Poor connections between parts
• Rapid temperature changes

By working carefully, maintaining sufficient moisture and allowing the workpiece to dry evenly, the risk of cracks can be greatly reduced.

Yes, silver clay can be re-fired multiple times.

This makes it possible to add components, carry out repairs or apply extra decorations.

For repairs, silver clay paste, Overlay Paste or fresh clay attached to an already fired piece is often used because these contain less binder. (less shrinkage)

As long as the correct firing temperatures are followed, silver can be reheated multiple times.

The regular Art Clay Silver consists of 99.9% fine silver after firing and is very suitable for jewelry, pendants, earrings and creative designs.

Art Clay Silver 950 Professional contains copper in addition to silver and consists of 95.0% silver after firing. This makes the material approximately 60% stronger than regular fine silver clay.

Art Clay Silver 950 Professional is especially suitable for rings, thin designs, jewelry that is worn intensively and professional commissioned work.

In addition, Art Clay Silver 950 Professional requires a different firing method using two firing phases.

Yes, glass can be combined with silver clay when the correct temperatures and materials are taken into account.

Some types of glass can be fired directly together with the clay, while others are better added afterwards.

Compatibility of the glass, expansion and cooling all play an important role.

Incorrect use may cause the glass to crack due to stress or temperature differences.

Preferably work with glass that is suitable for kiln firing and always test new combinations first.

Yes, enamel can be combined very successfully with silver clay and fine silver.

Fine silver is especially suitable for enameling because almost no oxidation occurs during firing of the enamel.

For transparent enamel, fine silver is preferred because discoloration caused by copper oxide is avoided.

For cloisonné techniques it is recommended to use fine silver cloisonné wire without copper.

Workpieces must be properly cleaned and grease-free before enameling.

For silver clay, a hobby kiln, ceramic kiln or enameling kiln that can be set accurately is usually used.

It is important that the kiln can maintain a stable and correct temperature.

For Art Clay Silver 950 Professional, a programmable kiln is strongly recommended because of the two firing phases.

A kiln with temperature control provides more control, more even heating and usually stronger results than firing with a torch.

To start working with silver clay you only need a few basic tools.

Common basic supplies are:

• Silver clay
• Roller
• Playing cards or spacers
• Spatula and brush
• Sanding materials
• Fine steel brush
• Firing grid, torch or kiln
• Polishing materials

With a simple starter kit beginners can quickly create their first silver jewelry pieces.

Yes, silver clay is very suitable for beginners.

The material is easy to shape and requires fewer traditional metalworking tools than classic silversmithing.

Beginners can relatively quickly create simple pendants, charms, earrings and small jewelry pieces.

Because of the many techniques and possibilities, silver clay also remains interesting for advanced users and professional designers.

Silver clay may become sticky when too much water has been added.

If necessary, use a small amount of olive oil, balm or anti-stick product on your hands and tools to prevent sticking.

Preferably work on a smooth, clean surface and roll the clay out on teflon so the clay does not stick to the work surface during rolling.

Silver clay contains water and therefore immediately begins losing moisture once the package is opened.

Warm hands, dry hands, warm temperatures, drafts and heat sources can speed up drying.

If possible work with small amounts of clay at a time so the remaining clay stays protected from drying out. Place a glass upside down over the clay while working or use a container with a lid.

Always store unused clay airtight in plastic wrap together with a damp cloth inside a properly sealed container or jar, such as a cream jar.

Yes, silver clay can be sanded and filed very well before firing.

Many users sand the piece during the dry stage to remove imperfections, fingerprints and small mistakes.

For this you can use sanding pads, fine sanding sponges, files or soft sandpaper.

The smoother the piece is finished before firing, the less polishing work will be needed afterwards.

Silver clay can be smoothed during both the wet and dry stages.

During the wet stage, brushes, damp sponges or silicone tools can be used to smooth surfaces.

After drying, the piece can be further refined with sanding pads, sanding sponges, files and polishing materials. Afterwards lightly wipe the surface with a damp baby wipe to smooth everything before firing.

A carefully smoothed surface will create a nicer shine after firing and reduce polishing work.

Fragile silver clay is usually caused by insufficient sintering during firing.

This may be caused by a firing temperature that is too low, a firing time that is too short or uneven heating.

Very thin designs or poor connections between parts may also weaken the piece.

A longer firing time within the recommended temperature range usually creates a stronger final result.

The minimum thickness depends on the design and the type of workpiece.

Thin protruding parts such as narrow connections, edges or fine details may break more easily.

For pendants or earrings we recommend a minimum thickness of 0.8 mm - 1 mm. For rings we always recommend at least 1.5 - 2 mm thickness for a flat band ring. For a round rolled ring we recommend a minimum thickness of 2 mm. This is recommended for sufficient strength.

Silver may become darker over time because of oxidation.

Sulfur in the air, cosmetics, perfume, chlorine, moisture and skin oils may accelerate this discoloration.

This is a normal process with silver and does not mean the quality is poor.

The shine can usually be restored easily with a silver polishing cloth, polishing compounds or a cleaning bath.

Fine silver (.999) generally causes very few allergic reactions because it does not contain nickel.

This makes fine silver often suitable for people with sensitive skin or nickel allergies.

With sterling silver, other metals in the alloy may sometimes cause skin reactions.

Reactions may also be caused by cosmetics, skincare products or other external factors.

Yes, many organic materials can be used to create textures and impressions in silver clay.

Leaves, twigs, lace, fabrics and other natural materials are often used to press textures into the clay.

Organic materials burn away completely during firing when incorporated into the clay.

Make sure the workpiece is completely dry before firing to prevent cracks or distortion.

Yes, ashes can be incorporated into silver clay jewelry in several ways.

A small amount of ashes can for example be incorporated into resin, placed behind glass or partially into the silver clay itself.

Not all ashes react the same during firing. Some types may discolor or affect the strength of the silver.

Many designers therefore choose to incorporate ashes into the jewelry only after firing.

Always test new techniques carefully before creating a personal memorial piece.

Sintering is the process in which the microscopic metal particles in silver clay bond together during firing.

The metal particles do not fully melt, but instead bond together through high temperature and time.

The better the silver is able to sinter, the stronger and more durable the final result becomes.

A firing temperature that is too low or a firing time that is too short may cause the silver to sinter insufficiently and remain fragile.

Air bubbles can occur when air becomes trapped in the clay during kneading or building.

Poorly mixed paste or insufficient bonding between layers may also cause trapped air.

During firing, air bubbles may lead to cracks, swelling, bursting open, weak spots or distortion.

Work carefully, press layers together firmly and inspect the workpiece closely during building to prevent air bubbles as much as possible.

Distortion during firing may occur because of uneven thicknesses (shrinkage), insufficient support (sagging) or rapid temperature changes.

Larger or thinner workpieces may be supported during firing with fiber blankets, vermiculite or activated carbon.

Make sure the workpiece is completely dry before firing.

Slow and even heating helps reduce stress within the workpiece.

Stones may come loose when the setting is too wide or when the silver clay is not firmly applied around the stone.

Shrinkage of the silver clay during firing also plays an important role.

When setting stones it is important to apply enough clay around the stone so it remains securely fixed after firing.

If a stone is tilted or not properly held in place by the edge of the clay, the shrinkage may push the stone out during firing.

Copper clay and bronze clay require different firing methods than silver clay.

Many base metal clays are preferably fired in activated carbon to prevent oxidation during sintering. Open shelf firing is possible, but it creates a thick oxide layer that must be removed afterwards and may result in loss of texture.

The firing temperatures and firing times also often differ significantly from fine silver clay.

Always follow the specific instructions provided by the manufacturer of the metal clay being used.

Yes, silver clay can be combined very successfully with resin.

Many designers use resin to incorporate colors, ashes, hair, flowers, glitter or other decorative materials into jewelry.

Resin is always applied after the silver clay has been fired.

Make sure the silver is completely clean, grease-free and properly finished before applying the resin. The resin must also be able to mechanically hold onto the piece. UV resin is not a glue and may come loose, therefore creating a slight undercut helps the resin grip properly.

Yes, gold can be combined with silver clay in several different ways.

Commonly used techniques include keum-boo (gold foil), gold paste and gold clay.

Keum-boo already takes place within a wide temperature range. Starting from approximately 340°C it is possible to apply keum-boo at different temperatures. However, the ideal temperature to begin with is around 400-450°C. At this temperature the gold starts bonding to the silver. The fine gold and fine silver bond together through surface diffusion, allowing the gold to attach naturally to the silver under light pressure.

Gold paste can be fired between 800°C and 990°C. For the best result the gold paste is applied onto fired, unpolished silver in 3 thin separate layers (drying in between). The paste can be applied directly after firing the silver.

Gold clay can be combined with silver clay, but it cannot be fired together with silver clay because of the higher firing temperature. If you want to combine gold with silver clay, first fire the gold clay separately. Afterwards the fired gold can be placed into fresh silver clay. During firing the silver shrinks around the gold, securing it firmly in place.

Yes, silver clay can be polished after firing in the same way as other fine silver.

Steel brushes, sanding pads, polishing compounds, polishing wheels, agate burnishers and other polishing tools may be used for polishing.

The better the workpiece is finished before firing, the easier it becomes to achieve a high-gloss finish afterwards.

Using multiple polishing stages from coarse to fine creates a smooth surface with a strong shine.

Yes, fired silver clay can be soldered like traditional fine silver.

Because fired Art Clay Silver consists of fine silver, it can be combined with many traditional silversmithing techniques.

Preferably use suitable silver solder and make sure the workpiece is clean and grease-free before soldering.

Do not use tin solder (soft solder), because it creates a very weak connection and may contaminate or damage the silver and may also cause skin irritation or discoloration for some people.

With very thin designs it is important to work carefully to prevent distortion caused by heat.

Yes, silver clay is very suitable for making rings.

When making rings it is important to take shrinkage during firing into account.

A properly sintered ring with sufficient thickness can be very suitable for daily wear.

Yes, regular silver clay can also be fired without a kiln using a gas stove or a torch.

This mainly applies to workpieces up to a maximum of 20 grams.

A kiln generally provides more control over temperature, more even heating and better final strength.

Yes, multiple layers of silver clay can be applied on top of each other.

For a strong connection it is important that the surface is slightly moist before adding new clay. This can be done by moistening the clay with water or paste.

In this way you can work in stages. For example, you can allow the base to dry first and continue building afterwards. This gives more control and makes corrections easier because the base has already become firm. Allow the clay to dry thoroughly again after every addition of moisture.