Testament to the adaptability of clay is the beautiful jewellery that can be made using the various types of clay, an example of which is the beautiful faience ware dating back to ancient Egypt. Faience ware was made using self-glazing clay, and the colours varied between rich turquoise blues and deep aqua greens. By varying the colour, shape or size of the pieces being created, anything from rustic and chunky to refined and elegant works can be created.
Special materials are not required when starting out with ceramic jewellery. A fine bodied white or terracotta clay (depending on the colours being used), underglaze paints, and/or glazes will suit perfectly to start with, and indeed, any type of paint and varnish can be substituted for an even more basic start, especially for those without access to a ceramic studio, with glaze and underglaze materials. The pieces can then be decorated after the clay has been fired, and the artist can decide to go a step further if pleased with the outcome.
The process used to make clay jewellery is the same as for many other hand forming clay procedures, bearing in mind the much smaller scale of the work, which means smaller tools and a steady hand. It is preferable to make a large batch in one sitting, especially if the pieces are of a similar colour or glaze, and if very small or intricate, it is best to bisque fire the pieces before painting or decorating them, as this makes them a little less fragile. Small beads or flat pendant shapes can be fitted into a little corner of the kiln; there is no need for a special firing.
Decoration procedures vary from person to person, depending entirely on taste. It is advisable to remember that a necklace comprising many different shapes would benefit from similar, or complime4ntary colours. Any type of decorative practise can be utilised, such as sgraffito, slip trailing or feathering, sprigging or carving, the list is endless. An underglaze, on-glazes or lustres can all be used as a part of the process, as can special effects glazes such as a crackle, raku or crater glaze.
Glazes can be painted on or the pieces can be dipped using a small pair of tongs or tweezers. This can become a rather tedious and time consuming exercise as it requires patience and care, but is an important part of the process as it dictates the end result of the piece. The edges of the hole must be cleaned before firing, so as to avoid them closing up when the glaze melts.
Kanthal or element wire comes in very handy when firing small, glazed pieces. Simply suspend the pieces, strung onto the wire, over segments of kiln bricks or props, making sure that there is a support in the middle should the wire sag. This is useful when making beads, pendants and earrings, as well as any pieces which will be strung onto a piece of string or thin wire, such as bracelets or anklets.
The ideas and tips outlined in this article are only the beginning of what can be achieved when using the medium of clay to make jewellery, either for costume purposes, as special gifts or simply as fun pieces, made of brightly coloured shapes strung together. Even beautifully constructed rings can be made of clay, and intricate, detailed pendants crafted from porcelain, fragile and lovely, are possible with a little patience, practise and determination.
Mellissa Bushby - Mellissa Bushby is an author, illustrator and ceramicist. She studied Fine Art for four years, and her newest book release is January ...
