Metal Clay Connections
Issue No. 9, Fall 2008

Free-formed rainbow Titanium can be very intriguing. It is bright, colorful, sculptural and very different from anything people have seen in the past. Jewelry artisans pick it up, turn it about and examine the brilliant colors on all sides. They hold it under the light, tilting their hand and suddenly they notice the subtle color changes and sparkle at every angle. They hold it up to their skin, in front of a mirror, and imagine what it would look like on. Then a strange look comes over them. “I love it, but how do I incorporate it into a piece of jewelry.”

The answer is a cold connection. One of the methods I use to set Titanium is with hand built prongs. So come with me on an exploratory trip into incorporating Titanium into a piece of fine artisan jewelry. In the process you’ll learn how to work with any uniquely shaped item whether it is a shell, coral, irregular shaped gem or cab and so much more.

Making a Titanium Placeholder: Since Titanium cannot withstand the heat of a torch or kiln, I make a placeholder out of paper clay. This is a non-combustible product that does not burn away in the firing process. The placeholder will be a support to rest the prongs when you fire the piece. The paper clay placeholder should be roughly the shape and size of the Titanium, although it does not have to be absolutely perfect, and should be the height of the titanium at its highest point. Note: Making a placeholder is optional. I have done several pieces without one without ill effect or prong slumping. However the placeholder does provide insurance that the space will be large enough after firing. If the placeholder can come in and out of the design in the green stage, then chances are after shrinkage, the titanium will come in and out of the design as well with little problem.

Making a Template of the Design. I start with a drawing. By putting the Titanium in the center of a piece of paper and drawing around it, I can envision how it will look in a finished piece. While drawing, I consider the orientation I’d like it to hang and the mechanics of the mechanisms on which to hang it. I must also make decisions about the how the prongs will function (See Considerations for Creating Prongs below). The success to any art object is the consideration of its design and balance of elements. It is no different when creating jewelry.

I then enlarge the drawing 118% in a photocopier. Make several copies: One to look at as you work and others to cut up as templates for the various parts.

The Base. If I am going to embed the prongs into the base, so the base needs to be thick enough to accommodate them. In my example, the base piece is rolled to 4 cards thick, textured, and layered with a second sheet of clay 2 cards thick. I like to embed the prongs because the prong has much more contact with the base then when connected flush to the surface. More contact creates more stability.

Considerations for Creating Prongs. The functions of the prongs are to hold the Titanium in place securely. Considerations for successful prongs are the size and weight of the prongs, placement, and design. All of these decisions are made when the drawing is created.

Size and Weight. The size of the prongs should be long enough so after firing they will still be able to go over the top of the Titanium to hold it in place. The tensile strength of fine silver should also be considered when you think about the weight and thickness of the prongs. They must be strong enough to withstand wear and tear by the consumer, as well as the stress of bending after firing.

Placement. The prongs are positioned to allow for the Titanium to be put in and taken out easily after firing and shrinkage takes place. Be sure the placement of the prongs makes good design sense as well as functional sense. For the prongs to do their job, they should be placed so that the Titanium will not shift or come out. Adding an extra prong is better than not having enough.

Making and Adding the Prongs. Although I will describe 2 ways to attach prongs, the design options for plain or decorative prongs and attaching them are endless. Use an enlarged copy of your drawing, which includes prong placement and cut out another template of the entire piece. Place the drawing over the base and use your needle tool to poke through the paper to mark the desired location of the prongs. Set aside.

Shape and texture the prongs, as you desire. The metal clay is rolled to 4 cards thick and the texture is applied. I cut out 5 small triangular shapes and let then dry.

For each location on the base where a prong is to go, carve out a deep recession a bit longer and wider than the bottom of my prong. Because of the two-layer base, the area is quite thick. Wet the recessions and let sit for a moment to reactivate the area. (Optional: Retrieve the paper clay placeholder that you made earlier in the project, and put it in position, using the placeholder to lean your prongs against if support is necessary.) Add thick slip into the recession and place the prong into the recessed area. The fit should be snug forcing some of the slip around the base. Smooth the slip around the base to fill in the joint so that the attachment is seamless. When dry, add more slip to fill in any gaps if needed.

The second style of prong attachment is to add an aesthetic ball or shape of clay to the base and embed the prongs into it. Do this by scoring the base, adding thick slip and pressing the clay in place. Wet the surface a bit and insert the prong and use more slip to hide the seams.

When the prongs are dried and in place, carefully use polishing papers to sand them.

Firing and Finishing. Fire the piece at 1650 degrees for 2 hours on a bed of vermiculite with the paper clay placeholder in position. Full sintering is necessary in order to bend the prongs without breakage.

I suggest that what ever finish you desire, you want to work harden the piece to make the metal and especially the prongs as strong as possible. A simple trick for work hardening is to tumble the piece in stainless steel shot for 45 minutes or longer. If you do not want the piece to be shiny, first put your piece in a zip lock plastic bag that is a bit larger than your piece.

Securing the Titanium in Place: Slip the Titanium into position. With a burnisher slowly and carefully press the prongs in place. Start on one side of the piece, and then press down the prong across from that position on the other side. Continue until they are all pressed in place.

The bright white shine of polished fine silver and the sparkle of Titanium make a dazzling combination, and you will find that the Titanium itself will inspire you go in new creative directions that you never went before. I encourage you to enjoy the journey and explore different ways to make and embellish your prongs, which can be very simple, or a design statement in itself.

This mini tutorial is part of a bigger project. To check out the entire article, go to www.HollyGage.com

Holly Gage of Gage Designs creates jewelry with a gentle blend of art and soul. Holly has been working with Titanium for approximately 7 years with a working knowledge of its uses in combination with various other methods and materials. Holly is also a certified metal clay instructor who lectures, teaches and writes about metal clay. A full range of Titanium, articles and tutorials can be found on her website at www.HollyGage.com.

Holly Gage