Art Clay silver and gold clay pastes, sometimes called metal clays or precious-metal clays, are made by Aida Chemical Industries in Japan. The silver paste is a composite clay-like material, made of 80% fine silver powder and 20% harmless organic binder. The gold paste is made of 77.5% fine gold powder and 22.5% fine silver powder and harmless organic binder. The water-based silver paste comes in regular and slow-tarnish: the gold in regular.

Art Clay water-based silver clay paste, oil-based silver paste, water-based silver overlay paste, and water-based gold paste, look and feel like dull grey and dull yellow double cream, and can be applied with modelling tools or a soft moist brush.

The slow tarnish silver clay is slower to tarnish. However, remember that all silver, not just Art Clay silver, tarnishes due to environmental oxidants and pollutants.

The water-based silver paste has three main uses: to paint onto a mould; to add shape to existing unfired silver clay; or to stick two pieces of unfired silver clay together.

The oil paste has three main uses: to add shape to existing fired silver clay; to stick two pieces of fired silver clay together; or to repair a broken fired silver piece.

The overlay paste has one main use: to add silver highlights, texture, or decoration to fired silver clay, glazed ceramics, glass, or porcelain.

The water-based gold paste has four main uses: to paint onto a mould; to add shape to existing unfired gold clay; to add gold highlights, texture, or decoration to fired silver clay, glazed ceramics, glass, or porcelain; or to stick two pieces of unfired gold clay together.

As silver clay is fired, the binder vapourises and the metal powder sinters, leaving solid silver which can be hallmarked as pure 999 silver. The chemical symbol for silver is Ag, an abbreviation for the Latin argentum.
As gold clay is fired, the binder vapourises and the metal powder sinters, leaving a solid gold and silver alloy, which can be hallmarked as 22 carat gold: 91.7% gold and 8.3% silver. The chemical symbol for gold is Au, an abbreviation for the Latin aurum.

Silver clay can be combined with a wide range of materials, before firing: beads, copper, dichroic glass, pearls, porcelain, polymer clay, semiprecious gems, and fine silver findings.
It can also be combined with sterling silver findings, provided that the firing temperature is 650°C: much higher, and the sterling silver discolours and becomes brittle.
Its easy-to-use flexibility makes it a versatile material, ideal for art colleges, home and business jewellers, ceramic cafes, craftworkers, glass studios, metalsmiths, modelmakers, and potteries.

The paste comes in a small plastic screw-top bottle, in a retail box, with an instruction leaflet. Take as much as you need, using a modelling tool or a moist brush, and replace the bottle lid. As you apply the clay, you can use a little water to smooth the surface and optimise the adhesion.

It has three main uses: to paint onto a mould, such as a leaf; to add shape to existing unfired silver clay; or to stick two pieces of unfired silver clay together.

Clay left in the open air will begin to dry, so keep any scraps in a small airtight pot: later, you can knead them back into re-useable clay or make a paste with a little water that you can use to shape, fill, or stick. Be careful to only re-cycle clay scraps: don't accidentally pick up metal filings, dried clay, abrasive grit, or work-area dust.

New clay is just moist enough to work with. However, if you're using clay that feels dry, stir in a little water. Don't stir it with a brush: brush hairs may come off in the paste and it will ruin the brush. If you over-dilute the paste in the bottle it will be unuseable.

You can use modelling tools or a moist brush to apply the paste. As you shape the clay, or add more, you can use a little water to smooth the surface and optimise adhesion.

Whilst you're working, keep syringes and sable brushes in water, removing excess water on lint-free cloth just before use. If you leave syringes for a few days, check that the water hasn't evaporated. Don't use a pot of paste or water as a permanent home for brushes: it will soon ruin them.
Don't let clay dry on your work area or tools: wipe them with a damp cloth or wash them. Drill bits, files, and abrasives will clog up, so tap them occasionally, or rinse and dry them.

The tools and techniques used to work with pastes are the same as those for silver clay. To refresh your knowledge, go to start using the link below the menu bar, then art clay, then silver clay.

There are four ways to fire silver clay: in a kiln, on your kitchen gas hob, on a gamping gaz ring, or with a butane gas torch. The first is controlled by the kiln programmer. The others need your full attention, so that you don't underfire it and break it, or overfire it and melt it.

The simplest and most reliable way to fire silver clay is in a kiln programmed from cool to 650°C, then held for 30 minutes. However, most metal clay artists recommend that you use the highest possible temperature and time combination, for maximum strength.

As it's fired, the binder vapourises and the metal powder sinters, leaving solid silver which can be hallmarked as pure 999 silver: real metal, not something that just looks like metal. The chemical symbol for gold is Ag, an abbreviation for the Latin argentum.
There's an important difference between sintering and fusing. During sintering, metal powders bond to produce solid metal, but they don't melt. During fusing, metals melt and lose their shape. Silver powder sinters at 650°C, but melts at 961°C so, if you experiment, keep below about 900°C.
The binder is an organic cellulose derivative, made from carbon, hydrogen, and oxygen. As it burns away, it releases small amounts of non-toxic carbon dioxide and water vapour: so it's safe to use at home.

To learn more about firing, look at the start page, then tools, then firing, and read the instructions that come in the Art Clay packet.

The tools and techniques used to work with pastes are the same as those for silver clay. To refresh your knowledge, go to start using the link below the menu bar, then art clay, then silver clay.

There are four ways to fire gold clay: in a kiln, on your kitchen gas hob, on a gamping gaz ring, or with a butane gas torch. The first is controlled by the kiln programmer. The others need your full attention, so that you don't underfire it and break it, or overfire it and melt it.
Although you could experiment, it's unlikely that your kitchen gas hob, gamping gaz ring, or butane gas torch will get hot enough.

On fired silver clay, use a kiln already at 500°C, then programmed to 800°C, then held for 10 minutes, then let the kiln cool naturally.
With care, you can use a kitchen gas hob, a camping gaz ring, or a butane torch. Put a stainless steel mesh on the gas and locate the bright red hot spot. Turn the gas off. Put your piece where the hot spot was, fire it full on for 5 miutes, then let it cool for 20 minutes. The piece should be smaller than the hotspot.

On glazed ceramics or porcelain, fire in a kiln programmed from cool to 800°C. As soon as it reaches 800°C, turn the kiln off and let it cool naturally.

On glass, fire in a kiln programmed from cool to 800°C, then held for 5 minutes. Turn the kiln off, open the kiln door until it falls to 600°C, then close the kiln door and let the kiln cool naturally. However, glasses vary, so do a small test first.

With the paste, you get a 5ml bottle of liquid medium: used to dilute the paste so that it's easier to work with on glazed surfaces.