I am a metals novice–we know nothing! We have a small factory
that produces porous ceramic decorative accessories, some of
which are embossed with fairly detailed designs (Celtic knots,
etc.). We use a protective coating on the raised part of the
piece to shield it from colored glaze, then ceramic glaze is
added. The “raised” part remains the ivory color of the body
and the “etched” part is colored–like being inlaid with glass.
We would like to do the same with metals but are in the "idea"
stage of research. Any suggestions? What metals? Can molten
metal be poured to achieve the inlay? How would we shield the
raised part to keep it from being covered with the metal? I’m
talking about mass production. Any direction for my research or
training would be much appreciated. Thanks.
The most logical solution is to use PMC, Precious Metal Clay.
Search the archives on it, go to PMClay.com and read the
newsletters online, and subscribe to them. PMC is a clay with
pieces of silver measured in the microns suspended in a binder of
water and other organic stuff. You can also read articles about
it in back issues of Lapidary Journal, Metalsmith, and Ornament.
Buy Tim McCreights video, and book if it’s out, from Rio Grande
at Riogrande.com. That ought to keep you busy for a while.
There are also classes going on in this all over the country.
PMClay lists some. Have fun.
Elaine
Can molten metal be poured to achieve the inlay?
Sure, you can pour it. But it won’t adhere to your ceramic,
and will possible crack it from heat shock.
How would we shield the raised part to keep it from being covered with the metal? I
Probably wouldn’t have to. Metal is heavy. Pour it over a
relief, and so long as it stays molten long enough, it will flow
to the low spots, and off the high spots.
But this is acadmic. Don’t do it with poured metals.
Just contact your glaze suppliers. They can sell you several
types of low fire glazes that are made with various metalic
salts, which when fired in the last low fire stage of production,
and applied generally over a previous coat of a decent vitreous
glaze (rather than the raw bisque ware), will fire to a bright
metalic finish. They look just like metal when fired. You can
get platinum, gold, and copper, that I’ve seen, and probably
variations of these colors too. If I recall correctly, these are
called luster glazes, and are fired appreciably lower than the
temps used for normal vitreous glazes. You can apply them the
same way, brush, spray, etc. Your same shielding techniques
should work, as they are still a liquid. I think the carriers
are often oil based, though, so you’d need a masking material
that will repel the oil carier for the luster glaze. While these
materials are not cheap, they would still be less expensive, I’d
guess, than actually pouring metals into your relief.
The other method I’d say might be worthy of consideration is
electroplating. You can coat a surface to be electrically
conductive, and then electroplate it. While better suited to
designs where the metal is on the raised portions, instead of
down in the relief, it can still be done. the cost of
electroplating itself may be less than the cost of some of the
luster glazes, but because it’s a whole new process for you, I’d
guess it’s less practical. You’ve already got all the equipment
you need to use the luster glazes. contact a commercial
electroplating firm for better advice on how to do what you want
with electroplating, and I’d suggest using an outside firm, at
least until it becomes clear you’re going to be doing the kind of
volume that warrants setting up your own equipment. While simple
jewelry level electroplating of small items can be done in a
small beaker on a table top for minimal cost, the type of object
and volume your talking about is likely to be a good deal more
invovled, especially since the items require the additional step
of making the surface conductive. But with these items, you might
simply be able to dip the whole thing in the conductive lacquor,
and then just wipe it off the high spots… it would only plate
where there remains a good solid coating, residues of the paint
could be washed off later…
Hope this helps.
Peter Rowe
AJM also did an article on it in December, 1996. (Cover story:
All Fired Up by Gary Dawson.) The article was by an independent
jeweler (i.e., someone with no connection to the manufacturer and
distributor) who tested some of the material and reported on his
results and evaluation of the material. You should be able to
get a copy by dropping an e-mail to ajmmagazine@compuserve.com or
sending a message via the Web site at
http://mjsa.polygon.net/ajm.
Suzanne Wade