[b][b][/b]Hey there. I'm new to this forum. Can't believe how friendly everyone is here. I've been teaching PMC for 4 years now and simply LOVE IT!!!
I am also a techy so if any of you guys need some questions answered, let me know.
I'm been working with Aura22 fo as long as it has officially on the market through Rio Grande. I am leaving open-ended thoughts on my posting to see if there is any interest here for me to keep checking back to help you with this media.
Initially there has been (and still is in some cases) issues with adherence. Also, the students I have had are even fearful of purchasing it because of the price. I am here to tell you NOT to be arfraid of using this product. First, I use it all the time on a series of techniques which I have developed ON GLASS!!!! So I KNOW through MANY Trial & Errors its pit falls and positive asspects.
Girls, it's ALL in the APPLICATION!!! Also the drying process between each layer. Being generous in your application and HOW to do it effectively is my gift to you. Feel free to ask about ALL of this! I WIll respond to everyone.

Also regarding the economics of its use: When the price of gold started going through the roof, I had to find out for myself if the direction I chose would be economical for my work as well as my students. I had several jars of Aura22 and I simply used them generously. I came to the conclusion that for a stunning piece, I can get 6 medium sized works of art out of 1 jar. This IS still workable in being cost effective.

Also look at HOW you reconstitute your Aura22. Many many times I see people put WAY to Much media IN their small jar and this only creates a jelly-type solid which tends to have little or Not much gold on your brush to begin with. We can talk about my way of doing this too.

Clean-up is also a problem because many gals are fearful that to much gold has dried on their brush. I have a solution to this too. ASK!![/b]

Polishing is another gift. I found that when the piece comes out of the kiln and is cooled down not quenched, then firmly and carefully burnished, you have a very nice first step to its polished finish. I simply love certain polishing discs from Rio Grande. Ask!!

Once you get the hang of the How-To, I can show you some very cool things with this product. My Gold on Glass is just one. Enameling on it if simply fabulous!! And....the Coolest....using this product to adhere one solid metal to another!!![:D][:0]

I thank Bead & Button for the opportunity to be able to share like this to all of you.

Patinaswings (Kathy StMartin @www.isabellesbeadshoppe.com)

Feel free to ask me anything about this product. Honestly, I don't know of ANYONE who uses more of it. I teach several classes all over the place.

I do have a question....

Talk to me about aherence on PMC3. I followed the directions (so I thought) exactly....and when it fired, it initially looked nice, but if I scratched at it, it came right off (and then silly me, I thought maybe I could tumble the piece and the rest of it came off).

I am reluctant to use the rest of my jar until I understand the tricks to getting it applied (i.e., I was thinking about finding a class somewhere....where someone can show me rather than just read the instructions....)

DG

DG

I was just reading this article by Mary Ann Devos before I logged on here. It's about PMC3 and gold paste, perhaps it will help you.

http://www.metalclayconnections.com/feature_art4.htm

Margaret

Hey there. It's me Kathy. I am responding to both you DG and to Mararet as well.
First, DG when you opened your Aura22 for the first time did you have to add media to it? Answering this question will help to see where you started from. Many times when we receive a jar, the gold is dried out. My suggestion at the time of opening is to put 2-3 drops of media in the jar and close it for about 10 minutes. Then open it and mix firmly with your brush. I save an empty jar to which I no more than 1/2 way with media in in order to clean my brush and not to waste any gold. Once mixed at this point you are ready to apply. Hit the bottom of your jar to get the thickest portion of gold. Apply this way. Clean your brush between each layer in the media jar and let your brush drop somewhat. Than repeat. Fire as usual. Burnish firmly but carefully than hand polish using varying polishing whell grits.
This should help you.

Margret, Mary Devos uses a version of deluted 24K paste which for the sole purposes of firing to silver clay, works excellently in my book. However, I can't do what I am doing with my glass using this version because it is the binder within the Aura22 that simply loves to take the gold to other materials for adherence. I have made some lovely pieces using Mary's 24k gold on PMC though. Using both ways work.

Hi,
I have used Aura 22 once. When I opened my jar it was so dry it was powder. I had to mix the medium in with it and thought it was a little thin. I probably didn't give it time to absorb into the dry powder. I gave the piece 3 coats which did seem a little thin to me, letting each coat dry thoroughly like the directions said. I fired it per the directions too. It did work. Adhered okay, but my question is..... It is hard to see much difference between the silver and the gold (unless you hold it just right in the light). Is it supposed to be a dramatic difference? Maybe I am expecting too much?

Hey there. I know what you are doing wrong. Try letting the media set into the dry gold for a while. It WILL absorb it. Many of us think we have a substancial about of gold contained in the media when we really don't. The real trick is to get right in there to the bottom of the jar and mix it up real good. Then wipe off your brush in an other empty jar, dry it well then dig again into the well mixed jar for application.
Doing it this way WILL result in a distinct difference between your gold and silver clay products.
Let me know your results.
Kathy

Oh, the empty jar should always contain media for cleaning your brush.
Sorry there.

FYI, applying Aura22 will work for ANY fired unpolished PMC piece of work.
Kathy

I already polished it thinking it would help brighten it up. If I rough it up a little and redo it, will that work? Or now that it has been polished is it too late. Alice

Hey Alice. I'm not sure if you know this or not, but 22k gold in of itself do not polish to a very fine shine. Ding-dong here (many years on the bench) basically asked Kevin Whitmore at Rio as to why and did I feel stupid when he answered with that fact.
Anyway, you will get a nice shine first pressing down with your burnisher when the piece comes out of the kiln or hot pot. Then use the method to finish her off.
Regarding a second application/refiring: I haven't had your problems but my gut says this--22k should Always want to adhere to itself. Soooo- give it a whirl. It should work. I just think the fact that by burnishing you're pressing down fine gold particles closing up varying pierosity holes, there might be a problem because the initial purpose of the binder is to say fiil in minute holes of this type with gold then have it burn out in the kiln.
If you redo---Let me know how it came out. I'll tell my students about this.

Thanks
Kathy

Kathy & Others...
I am one of those Metal Clay folks who is a bit intimidated to use these Gold products. Never having purchased any Aura22, I keep hearing the use of the word, "Media" in regards to adding it to "Dry Aura22". To clear this up for myself & perhaps others, is this "media" something that comes in the package when you buy it? Do tell! I do really love listening to this discussion on the Gold for Metal Clay and hope to integrate some into future designs. And lastly, on a different note. While I am quite happy to be amongst such a creative female quaruum, alas, I am not a "Gal". - Latelle

SOOOOO SORRY LStudio[:I][:I] about the gender word bias!!! OOOOPS!!!
Anyway, the "Media" is the clear (liquid) which comes in your package of Aura22. Though I don't know its natural properties, it is not harmful when burned out and is used to reconstitue the 22k Gold in the product.
Initially Mitzubishi(correct spelling?)'s main purpose was to develop a product that had the adherence properties which would stay on their silver clay products. I lucked out because the summer this product was newly released through Rio Grande, July 2003, I happened to be there for their Rio Rewards certification program. It was at that time that lil' comments were being made that the adherence to the silver was troubling.
I wasn't really interested in the product for the silver bonding though. I figured that until they got the kinks out, I wasn't interested. I was interested on how it was applied (furnace temps and all) and since I was a gold smith and interested in gold and glass for that matter(not being then knowlegable in the latter at all), I bought some and started my road with Aura22 and glass.
It was working with the glass and listening to the many opinions, comments, and fustrations of the product and comparing them with my own issues and successes that I came up with better applications, answers to top Q/A, and new ways of looking at this product from outside the box.
Like I've said in former postings, it's all in the application.
I have been holding classes with PMC and Aura22 specifically to get us all over the shadow of issues that it had initially created.
I am holding a 101 class at the Best Bead Show in Sept in Tucson. Check their site for more info.
In the meantime, I am here to try and give answers to the best of my ability and maybe the visual that those of us need to procced with Aura22.
BTW--my PMC pieces are consistently bold with 22K using this product and applying it my way. Works for Me GUYS!!----Hey how's that final word LStudio?!?!?![:D]

QUOTE: Originally posted by Patinaswings Hey Alice. I'm not sure if you know this or not, but 22k gold in of itself do not polish to a very fine shine. Ding-dong here (many years on the bench) basically asked Kevin Whitmore at Rio as to why and did I feel stupid when he answered with that fact. Anyway, you will get a nice shine first pressing down with your burnisher when the piece comes out of the kiln or hot pot. Then use the method of polishing discs (Rio) that I have suggested to finish her off. Regarding a second application/refiring: I haven't had your problems but my gut says this--22k should Always want to adhere to itself. Soooo- give it a whirl. It should work. I just think the fact that by burnishing you're pressing down fine gold particles closing up varying fine porous holes, there might be a problem because the initial purpose of the binder is to say fill in minute holes of this type with gold then have it burn out in the kiln. If you redo---Let me know how it came out. I'll tell my students about this. Thanks Kathy

Kathy,
Excellent! I do really appreciate your answers on the Aura22 questions - I will be buying some soon. I am really enjoying using Metal Clay (I've used about 20 Packages of it already). Also, Apology accepted on the Gal thing, but not really required :) As I am coming to Metal Clay from the Enamelling world (25 years), Attending Enamel workshops, I am usually the only Male in the group - and I don't mind that a bit. This August is the Bi-annual Enamelist Society Convention in Columbus OH. ...I'm there!
Being a bit of a hack with Silversmithing, I learned enough to produce finished pieces, but Metal Clay is a God-send for the Metal Prep needed for Enamelling. Making Molds of my best designs is HUGE for me. Now I can focus more on the intricacies of color, transparency, opalescence and expansion rates of different enamels.
Cheers, - Latelle

Hey Latelle--have you heard of Karen Cohen in the enameling world? She is a friend of mine and an AMAZING enamelist/teacher/author.
I have taken a couple of classes with her and have had the pleasure of hosting her here in Central PA for cloisonne weekend.
It was Karen who told me to connect with the owner ot Thompson Enamels about an enameling on gold on glass technique that I have come up with but is currently limited in its multi-layering standards.
Haven't been able to focus to much on that due to my mom's ailing health, but this is MIND-BLOWING in its concept and you enamelists will move entirely in an earth-breaking direction because of it--should I be able to get past 2 or 3 layers of enamel on gold on glass.
Have your enamel buds email me with questions and don't forget Karen Cohen.

Kathy