There’s a lot of “buzz” today in the Metal Clay community: Mitsubishi has just released a new fine silver product they’re calling PMC Flex. Well, it’s been available in Japan for a couple months now; the rest of the world is able to order it starting today with, I’ve heard, shipping to commence on Monday. I was lucky enough to get my hands on some of it just this week, so I haven’t had the months of experience with it that some of the official “early testers” have had, but I wanted to report my very first reaction….
First, though, some background. I’ve been working with clays that remain flexible after drying almost as long as I’ve been working with metal clay. I will say, that I find the term “flexible clay” to be a bit confusing: all clay is flexible when you’re working with it! The ones I’m going to talk about today are the ones that remain flexible, that do not get really hard, until they are fired in some way.
The center pendant in this group of three (photo, left) was one of the first pieces I ever made this way. It was after I’d used some clay at an event where I gave repeated demos, working and reworking it, exposing it to oil (so it wouldn’t stick to the textures I was using with it), adding water (to replace what had evaporated during use, but also risking the washing away of some product, silver and/or binder). By the end of the day, the clay had gone rather funny: it wasn’t acting like clay at all. It had gone from sticky to slippery. It didn’t leave bits stuck on tools or hands but it did sort of slime everything it touched. Was it destroyed? I had no clue. In the very first class I took, I’d been taught that you could extend the working time of clay by adding a very tiny bit of glycerin, but one should take care to not add too much. (And … I later heard that same instructor say she no longer recommended doing that.) I’d read in some online group that you could “revive” clay that had gone “off” by adding a bit of glycerin to it. I’d also heard or read somewhere (in a class? online? this was years ago now..) that you could make clay that would remain flexible after being allowed to dry if you added a good bit of glycerin. No specifics. Nothing about how much, or how one should do it, or just what would happen if you added too much (other than, obviously, thinning the silver out so much that it could not sinter in the kiln). There were just vague comments. Questions I’d seen about such details had remained unanswered. But … I had some glycerin on hand: what more did I have to lose beyond this clay that was unworkable? Why not try it? And, while at it, why not try to go the whole way?
I added some to the wad of muck I had. I kneaded it in. It went even more funny, and not in a humorous way: by then it was falling completely apart. I tried to not panic. I attempted to knead it some more, and it seemed to start getting better. I kneaded a bit more, and worked a bit of water into the clay too. I began thinking this might work, after all, so I rolled it into a neat ball, wrapped it up air-tight, and went to bed, hoping that would all soak in better with time. The next morning, I took the clay out of the plastic, and it seemed much more workable. It didn’t feel like clay fresh from a new pack, mind you, but I could roll out a couple small pieces and texture them. I let all that air dry while I did whatever all else it was I had to do that day (years and years ago now). When I got back to it that evening, it was wonderful: dried out enough that didn’t feel like I could smash it with clumsy fingers, but still soft and pliable enough that I could cut it with scissors and begin to weave it together. I couldn’t get the strips really close together, but that was fine. As I said, above, that weaving is shown in the center of the group of three. (The frame around it was made from fresh, regular clay.)
I had a little bit left from that test, so I added a little more glycerin, kneaded it in (it was easier this time), waited maybe an hour or two, then I rolled out a couple more small bits and left those to dry overnight. Voila! The dried clay was enough-more flexible that I could weave the strips much closer together: the pendant to the right in the collection was the result of that.
(The one to the left in the trio was made later; the photo is an old image, taken to promote one of the first “woven silver” workshops I taught.)
But this getting-more-flexible trend was appealing. I had just a tiny bit left, so I added one more drop of glycerin to that. (Proportionally, with how little I had left, that was a huge amount more!) Again, I kneaded that in and wrapped it up. The next day, I found it that my final scrap was flexible enough that I could tie it into this little knot. I used the entire last bit in making this, spending time adjusting the knot to the middle so the ends would line up, meaning I didn’t have to trim any off. I used fresh wet clay to add the little coil along the top. Once that had dried (hard), I made a loop from fine silver wire and embedded that into the top. I apologize for the quality of that image: it’s a detail from a very old photo, but it’s all I have to show of that piece now.
Over the next few years, I continued to make my own silver clay that would remain flexible as greenware, playing with weaves, knots, twists, and other shapes in various ways. The curved-square piece to the left (which I’ve called Magic Carpet in public but is, to the mathematician that’s still quietly in me, a basic example of creating a bit of hyperbolic space…) is but one of such explorations. I learned about Hadar Jacobson and that, in her first book, The Metal Clay Handbook: Textures and Forms, she talked about this, which is one of the main reasons I bought that book … which, eventually, led me to learning much, much more from her and her approaches!
When Hadar came out with her clays, I played around with them for a bit. But I didn’t go all-in for her clays until two things happened around the same time: Hadar herself came to town (well, our local metal clay guild chapter brought her in!) to teach a workhop on her “married metals” approach (which I took), and I started playing around with adding glycerin to her original line of clays, which she now calls the “flex” powders, because they are the most (not the only, but the most) conducive to having glycerin added to yield clay that stays flexible if you want that. (If you want the clay to dry hard, just don’t add anything besides water to the powders.) Mixed Metaphors, shown to the right (before it got its bail and went to live with my cousin Debby) is one example using copper, bronze, and a little bit of steel while combining married metals with weaving.
The other thing that people do with glycerin-enhanced metal clay is to cut it with electronic cutters, like the Cameo and Portrait products from Silhouette. (That was actually one of the things I’ve been hoping to write a bit about this coming winter!) People started by cutting out the very thin PMC+ “sheet” product with that. (I don’t know this for sure, but it would not surprise me to learn that “sheet” was the inspiration for trying glycerin! Though “sheet” acts somewhat differently than does glycerin-enhanced clay, with both the point is that they never quite dry out completely, and thus remain flexible. While sheet does make nice, plain embellishments, the advantage to glycerin-enhanced clay is that you can add textures in various ways, and make it thicker or thinner as required for your design.) When folks started trying to cut sheets of regular clay with it, the question became whether it would be helpful (or not) to add glycerin. (The short answer is: sometimes, yes; sometimes, no. The full answer, available now in various online sites, will be tackled here in future posts … eventually!)
At last, on to the new PMC Flex fine silver metal clay. Needless to say, when I first heard about the new PMC Flex, I was both eager to try it it and wondering why one might purchase that rather than just go the DIY route. When I first got my hands on a pack of it, I began by trying the techniques I have in finger-memory, the ones I’ve been doing and teaching for years, just to see how it performs. The very first thing I did was to grab a little piece of it (a bit less than 1 gram), and roll it out into a “snake” or “rod” shape. I left it to dry over night.
The next morning, I measured it: 3.25 inches long, and the size of 15 gauge wire. (Clearly, it will have shrunk a bit while drying, and will shrink even more when it’s fired. But that’s it’s “dry” measurement.) It seemed like it would bend, but felt a little stiff. I’ve had that experience with the glycerin-enhanced clays too, and found that gently “working” the piece along its length will often make it more pliable: I tried that with this piece, with the same good result.
I then tried to tie it into a knot. The photo shows how far I could get it to go before feeling a lot of resistance. (The calipers shifted a bit as I was setting up the photo, so they represent a visual guide and not an exact measurement, but that’s OK for this very-preliminary report…) If I want more elaborate knot designs, I know how to get a tighter bend with my DIY-flex (as shown, for example, even in my first silver knot above, which began with a bit of clay about the same size as this). Still, this PMC Flex will clearly be great for a variety of other applications. I plan to write more about those, with photos, in future posts. As ever, as time allows…. But I’ll close by saying that it is a lot of fun to have such a delightful new toy to play with!
Update: With Hadar Jacobson’s Flex-clay powders, one trick to slightly increasing the flexibility of a piece of “dried” clay is to refrigerate it for a little while. I tried that with the above piece and it seemed as though it was going to let me pull it a little bit tighter. That is, until is broke just about in half. I’ll use the two pieces some other way, but figured I should note that (as a reminder to myself, as well as information to you…).