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A meeting with Eberhard Faber, the manufacturers of Fimo
As you may be aware the formula of Fimo Classic Polymer clay (my
favourite brand) was changed. I thought you might be interested to hear
about my discussions and meetings with Eberhard Faber, the manufacturers
of Fimo Classic.
Many people have expressed their dissatisfaction with the new formula,
primarily because it was proving less suitable for fine modelling. I
contacted Staedtler (UK) Ltd. the UK distributors to express my
concerns. This resulted in a meeting with Duncan Savage, Director of
Sales. He then instigated a meeting with Eberhard Faber which happened
in September 2007. Pat Goodall-McIntosh (a member of the British Polymer
Clay Guild who is a skilled miniaturist and teacher) and Angie Scarr
(caner extraordinaire) were invited to attend that meeting as well. We
met with Nils Henssen (Director Marketing) and Kerstin Humplmair
(Product Manager) in Birmingham where we discussed our concerns about
the formula changes in Fimo Classic polymer clay.
The three of us then travelled to Germany in December 2207, at the
invitation of Eberhard Faber, so we could participate in a series of
workshops they were planning.
It was very gratifying how seriously Eberhard Faber were taking our
concerns. Not only had the three of us come from England but three
professional German makers – a miniaturist and two jewellery makers –
had also been invited. The plan was that we would take part in workshops
where we could demonstrate our difficulties concerning the new formula
Fimo Classic. The workshops were over two days and many of their staff
were involved. What with Eberhard Faber chemists, quality controllers
and creative people, plus three of their senior directors, there were
eighteen of us taking part in the workshop.
It was explained that the changes in the formulation of Fimo Classic had
been dictated by changes in the European Law concerning the uses of
Phthalates (a constituent of the plasticizer used in polymer clay) in
items classified as a toy. Any item that will be used by children under
14 has to comply with these standards. What’s more, European law defines
all clay-like materials that can be baked in a home oven as toys, and
this of course includes Fimo Classic. It is therefore not possible for
the “old” formula to be produced anymore. Curiously, American law is the
exact opposite; Polymer clays must be described as “art and craft
materials”, not as toys, but their manufacture is controlled by equally
stringent regulations. The changes in colour (especially in Bordeaux
Red) are due to changes in the availability of certain pigments.
Eberhard Faber had taken advantage of the opportunity afforded by the
necessity to change the formula to address complaints (especially from
American artists) concerning the firmness of Fimo Classic. They
therefore designed a clay that does not harden off as it ages, that is
consistent in its manufacturing process and is softer and therefore
easier to condition
However I think it came as a surprise to them that the very properties
they were trying to resolve (i.e. the firmness of the clay and its
tendency to become firmer as it aged) had been the very properties that
the fine scale modellers and some caners and jewellery makers looked
for, and why Fimo Classic had been their clay of choice.
The opportunity to actually demonstrate our concerns was invaluable to
all parties. It is difficult to describe in words why, for example, a
cabbage leaf modelled in the “old” formulation works and the one from
the new formulation does not. In this case, it was certainly true that a
picture is worth a thousand words. Similarly the complaint “the clay is
too soft” is not very helpful when that is all the information they are
given.
Angie and the jewellery makers demonstrated their difficulties with the
caning properties of the new formula Fimo Classic, and the difficulties
associated with Fimo Translucent (now in the “Effects” range). Pat and I
concentrated on the difficulties when using Fimo Classic for fine scale
modelling.
We also expressed concerns about the reduction in the baking temperature
of Fimo classic (from 130º C to 110º C) with the resulting
incompatibility with Liquid Fimo that has a baking temperature of 130º
C. We were reassured that, whilst the scientific instruments show that
the optimum baking temperature for Fimo Classic is 110º C, it is
entirely safe to bake it at 130º C.
Where do we go from here? The folk at Eberhard Faber were attentive to
our concerns, and now have a much clearer idea as to what our complaints
mean and what we wish for in polymer clay. Whether they can accommodate
the requirements of what is a niche market (i.e. the fine scale
modellers and caners) we will have to see.
Currently I work with my remaining stocks of the old formula and a
mixture of the new formula Fimo classic, Premo and Kato Clay, depending
upon what I am making.
We would like to thank Nils and Kerstin for making our stay such fun.
Not only did they take us to the famous Christmas market in Nuremburg,
but they wined and dined us and added a serenade or two. Thanks also to
Herman Bauer, International Sales Director, for his generous
hospitality. Our thanks to Dr. Gunther Pabst who not only listened to
our concerns but showed us round the factory (watching pencils being
made is, I admit, much more fun than watching Fimo being mixed!) Our
thanks also go to Rachael Woolley, Brand Manager, Staedtler (UK) Ltd.
who escorted us with such grace and charm.
