DIY Network

Custom Impression with UV Photopolymer Sheets, Buttons and Belt Buckle Learn how to create a custom impression. From "Craft Lab" episode DCLB-210

Guest Cathi Mulligan shows you how to create a custom impression by using UV Photopolymer Sheets. Having customized the design for both a matching belt buckle and buttons, host Jennifer Perkins demonstrates how to take the personalized impression and create a beautiful silver piece by touching the molds and completing them with a buffed finish.

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Guest Cathi Milligan demonstrates the techniques for creating a unique torched metal clay belt buckle.

Custom Impression with UV Photopolymer Sheets, Buttons and Belt Buckle

Project designed by Cathi Milligan.

Materials:

3 packs 16g low-fire metal clay (2 packs for buckle and 1 for buttons)
paste metal clay
syringe metal clay
polymer clay
fine silver wire (16g)
olive oil
water
leather belt
liver of sulfur or silver black
steel wool
impression plates
photopolymer sheets (for you own original artwork impression plates)
50 watt halogen swing arm lamp or 50 watt grow light
piece of masonite or board
piece of glass about same size as board
transparency of artwork
small non-metal brush and shallow container for washout
xacto knife
cookie cutters
playing card stacks in various thicknesses
glass surface
acrylic roller
drinking straws of various sizes
2 small paintbrushes
small container for water
small handheld power tool with changeable bits
buffing/brush/polishing bits for power tool
various sanding tools (nail files, sanding sponges, different grades sandpaper)
butane torch
butane
small kiln capable of holding 1470F for at least 30 minutes

	Figure A
	Figure B
	Figure C
	Figure D
	Figure E
	Figure F
	Figure G

1. This process requires that the artwork be on a transparency sheet. Create custom artwork and have it transferred to a transparency sheet. This can be achieved with a home computer printer and special transparency sheets. They will also work with a photocopier. The other alternative is special ink on special acetate material both of which is available at your local craft or art supply store. You would then draw your design directly on the acetate.

   Note: What is nice about all the methods is that you can size the same design into small, medium, large — this allows flexibility in the designs.

   Tip: A mirror image of any design can also be achieved for earrings and other items desired to match the same element of a design. Keep in mind what parts of the design you would like recessed and what is going to be raised.

2. Once the artwork is ready, get out the photopolymer sheet. The sheet is sealed in black plastic to protect it from exposure to light, so handle it very carefully. It is important that you work in low light. The material can be cut with scissors at about 1/8" over the edge of your design on each side (figure A). Take your board, photopolymer sheet (peel off protective sheet first), artwork (ink side down), glass and then sandwich together. Make sure the glass is very clean before you put everything together.

   Note: The unit should be centered under the light source 2" away from the glass. Be careful not to overexpose the photopolymer sheet by having the light source too close or underexpose by having the light too far away.

3. Set a timer for six to ten minutes according to tests done prior to creating your finished artwork (check the information enclosed with the photopolymer sheets for suggested exposure tests) and turn on the light. Immediately following the timer alarm be sure to shut off the light.

4. The next step is to disassemble the stack. Take the impression sheet and submerge it in water in a shallow container and allow it to soak for at least four to five minutes. The design will emerge as the sheet surface dissolves the black ink from the artwork. Scrub gently with a brush to remove the remaining residue (figure B) — this could take another five minutes. Allow the finished sheet to dry thoroughly while making sure it is not tacky. If it appears tacky, continue to re-rinse the sheet.

5. Once the sheet is completely dry, place it under a lighted source again for a second exposure for an additional eight to ten minutes in order to cure the remaining surface material (figure C). Your custom impression plate is now ready to use.

6. Start out by using polymer clay first because metal clay tends to dry out quickly. This allows an opportunity to calculate how much metal clay is needed. Prepare your workspace. Clean off the glass and the roller and arrange the card stacks in order to roll out the clay to a five card thickness. This will be for the belt buckle (the buttons will require three cards). Lubricate the work surface with olive oil and then roll out the clay. Peel it up from the surface, flip it over and roll some more. Move the cards out of the way and take the pre-oiled impression plate and place it face down while pressing onto the clay. Remove the plate and check the imprint. Once the imprint is satisfactory, any excess clay can be trimmed off using a craft knife — or you may also cut out shapes. Make sure all the tools are oiled to prevent the clay from sticking. Make sure to clean off your workspace of all polymer remnants before you begin working with the metal clay.

   Note: When using playing card stacks for determining clay thickness make sure to first divide the stack into equal quantities (two stacks of two, two stacks of three, etc.). Secondly, tape the cards together in their respective stacks for additional support. The stacks act as a leveling tool when determining thickness.

7. Open the metal clay and remove what is needed (having used the polymer clay already should provide you with a fairly accurate estimate). Keep a glass facing upside down nearby to house any unused clay. Keep a moist paper towel under the glass to keep everything humidified so your clay won't dry out. After lubricating the work surface, roll out the clay, make the impression for the buckle and cut it out. Also cut from the extra a strip of clay approximately 1/4" x 1". This is for the back of the buckle where the wire connects so it can be attached to the belt. Cut the strip in half so that there is two pieces that are 1/4" x 1/2". Place pieces over a straw, something that creates a half-circle curve to each piece. Roll out a small rope of clay approximately 1/4" thick by 1/2" for the buckle prong. Take any extra clay and place it under the glass until it is ready for use. Remember that the clay is still moist. The holes can be refined once the clay has dried. Repeat the same process for the shanks as for what was done on the buckle — only smaller (1/8" x 3/8"). The belt buckle parts are placed on after the piece has dried. In order to personalize the pieces by placing the artist's mark on the back, it must be done while the clay is still moist (figure D).

8. The finishing work is completed on the pieces once they have dried. Filing and sanding are done to refine each piece and give it a finished look (figure E). Sometimes cracks may form on the surface of the clay if it had a chance to dry out so these can be filled in with metal paste and a moist paintbrush. Once that is dry, sand and smooth out the surface. When the refinement process is done any assembly can take place. Use paste to insure that the pieces are secured. This will require more than one application of paste. Allow paste to dry between coatings. Clean up all work throughout the process. Painting with a brush and slip/paste will smooth out the surface. Once it is dry, flip it over and attach any necessary findings to the back.. Figure out placement then apply paste to secure to the buckle. Attach with paste carefully. Use multiple coatings allowing each application to dry between. For the belt buckle take the two small curved pieces of clay that have been prepared and are attached on one side of the buckle. A 1/2" piece of fine silver wire is attached to the other end of the back of the buckle to be the prong that goes into the belt holes. After the findings are securely on the piece they are ready to fire.

9. The buttons can be fired with a butane torch, but the belt buckle should be fired in a kiln. To torch the fire — place a dried piece on a fireproof surface such as a firebrick or piece of graphite. As an option, the clay can be placed on a tripod with a piece of stainless steel mesh over the firebrick. Light the butane torch and heat up a piece of metal clay (figure F). Keep the flame a few inches away and move back and forth evenly heating the whole piece. It should soon start to smoke and it will then burst into flames. The fire will go out and the piece will glow a deep red. Keep this going for at least one minute and be careful to not overheat it. If the surface of the piece starts to get shiny you need to back the flame off because you are starting to melt the piece. After a minute has passed, turn off the torch and allow the piece to cool.

   To kiln fire, place the dried piece onto a fiber blanket or some other fire resistant surface to support it. It can be placed in a cold kiln and ramped up to 1470 or it can carefully be placed in a preheated kiln. Either way the metal clay needs to sit at 1470 for 30 minutes. The piece will smoke and then flame up just as it does with a torch. After at least 30 minutes, carefully remove the piece from the kiln and allow it to cool (you can also quench it with water).

10. Whether the piece has been torched or kiln fired it will have a white matte surface to it. This
    can be burnished with a wire bristle brush (figure G). Be careful not to scrub too hard, as you can scratch the surface of the silver. Once the white surface is burnished it may be buffed and polished as all silver is treated. A cordless hand tool can also be used to polish the finished pieces as well as a burnishing tool, to work up a high polish. The fired metal clay can now be tumbled, soldered, polished and buffed as it is now pure fine silver. The fired metal clay can now be tumbled, soldered, polished and buffed as it is now pure fine silver. For the belt a piece of wire needs to be attached to the small tubes attached to the back (16" wire recommended). The wire needs to be long enough to be bent to accommodate the leather belt that it will attach to. Attach the belt and you are ready to go.

RESOURCES :

Photopolymer Plates and Metal Clay
Art Clay World
Website: www.artclayworld.com

GUESTS :

Cathi Milligan
Bead Brains
Website: www.beadbrains.com