Art Clay paste is a composite material, made of real silver or gold powder and a harmless water-based or oil-based organic binder. It looks and feels like double cream, and can be applied with modelling tools or a soft wet brush.

Silver clay paste is available in two forms, Original and the newer 650: Original fires at 800°C and 650 at 650°C, held for 30 minutes.
Most people use 650, partly because a wider range of other materials can be combined with it before firing. The 650 comes in regular and slow tarnish.

Gold clay paste fires at 800°C, held for 30 minutes. The fired metal is a solid alloy made from 91.7% gold and 8.3% silver, which can be hallmarked as 22 carat gold.

Art Clay water-based silver clay paste, oil-based silver clay paste, water-based silver clay overlay paste, and water-based gold clay 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 water-based silver paste comes in regular and slow-tarnish: the gold in regular.

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.

If you want to learn more about using Art Clay, look at The Art Clay Club. It's a free resource, 24 7 52: you don't have to register, log on, or remember a password.

This water-based clay comes in a small plastic screw-top bottle. Take as much as you need, using a modelling tool or a soft wet brush, and replace the lid. As you apply the clay, you can use a little water to smooth the surface and optimise the adhesion.

Whilst working, don't let any clay dry on your tools: keep your brush tips in water and dab them on lint-free cloth just before use.

When your piece is shaped, let it dry naturally for 24 hours or in a kiln programmed from cool to 150°C, then held for 10 minutes: although, with care, you can dry it with a hair drier or a hot air gun, on a central heating radiator, or in a kitchen oven.

After drying, silver clay is dull-white. It's strong enough for you to be able to refine the shape using a knife, a scriber, a file, a drill, and abrasives. However, at this stage, thin pieces are brittle, so may snap.

Fire Art Clay 650 Silver in a kiln programmed from cool to 650°C, then held for 30 minutes: although, with care, you can fire small silver pieces on a kitchen gas hob, on a camping gaz ring, or with a butane torch.

If your piece doesn't include anything that will crack or melt at a higher temperature, Art Clay 650 Silver can be fired at 780°C for 5 minutes.

As it's heated, the organic binder vaporises, leaving solid metal which can be hallmarked as 999 silver. During firing, small amounts of non-toxic carbon dioxide and water vapour are released: so it's safe to use at home.

After firing, the clay still looks dull, but brushing off the powdery coating reveals bright metal. Your piece is now ready to reshape, drill, stain, polish, or burnish: or wear, sell, or give. Remember, it is metal: it doesn't just look like metal.

This water-based clay does what it says: when fired, the surface is slower to tarnish. However, remember that all silver, not just Art Clay silver, tarnishes due to environmental oxidants or pollutants.

This oil-based paste clay comes in a small plastic screw-top bottle. Take as much as you need, using a modelling tool or a soft brush, and replace the lid.

It has three main uses: to build up, or add shape to, an existing fired clay piece; to stick two fired clay pieces together; or to repair a broken fired clay piece.