Art Clay water-based silver clay, sometimes called metal clay or precious-metal clay, is made by Aida Chemical Industries in Japan: it's a composite clay-like material, made of 92% fine silver powder and 8% harmless organic binder. It comes in regular, slow-dry, and slow-tarnish.

New clay looks and feels like dull grey plasticene or polymer clay, as shown in the photo, and can be shaped easily using familiar modelling tools and similar techniques.

The slow dry silver clay stays malleable for about four times longer than regular clay: so it's ideal for beginners, people with learning difficulties or poor manipulative skills, or anyone making thin, delicate, or intricate shapes.

As silver clay is 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 silver is Ag, an abbreviation for the Latin argentum.

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 clay comes in a cellophane wrapper, inside a foil packet, inside a retail foil packet, with an instruction leaflet. Tear open the retail foil packet using the markers. Be careful, as the retail foil packet is a press-to-seal and can be re-used.

Unwrap the clay and cut off a piece to work with. At this stage, silver clay is a dull grey. Knead it until it feels soft and malleable, but don't knead it for too long: it will begin to dry out and you'll get dry clay all over your fingers.

Some people use hand-cream. However, any oils kneaded into the clay won't evaporate like water when the clay is dried: they'll remain, and burn away during firing, possibly leaving tiny holes or fine cracks.

If you work regularly with Art Clay, write on the part-used packets how many grammes are left so that, in future, you only need to open the appropriate one.

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 from an old packet and it feels dry, brush on a little water before kneading. If you over-wet the clay, dab it drier with lint-free cloth before kneading.

To store the remainder: rewrap it in cling film, put it back in the retail foil packet, seal it, and keep it with a small piece of just-damp tissue or cloth in an airtight container, away from heat or direct sunlight. It's better to use a small container as there's less air inside. Don't keep it in a fridge.

The tools and techniques used to work with slow dry clay are the same as those for regular clay: go to start using the link below the menu bar, then art clay, then silver clay.