Apoxie Clay comes in two colours and the choice is not cosmetic. It changes how the work reads while you sculpt and what happens to it afterwards.

White is the choice when the surface needs to read light. Master patterns that will be photographed or moulded, work going under pale or bright paint schemes, additions to white plastic and resin kits, and anything that needs to sit invisibly against a light-coloured original. It also takes thin translucent glazes and pale washes without the base colour muddying them from underneath, and it is the sensible base if you intend to tint the mixed clay with pigment.

Native is a warm tan/brown and reads form and shadow more honestly under a work lamp, which some sculptors prefer for figure and skin work. We stock both, in all three sizes.

Apoxie Clay is a two-part self-hardening epoxy clay. Mix equal amounts of Part A and Part B for two minutes and you have a fully self-hardening sculpting material — no oven, no kiln, no air-dry cracking. Full cure is 24 hours at room temperature.

Aves make three closely related sculpting materials and it is worth being clear about which does what, because they are not interchangeable:

Choose Apoxie Clay when the detail is the point: sculpting faces and skin texture, wrinkles and folds, replica weaponry and props, scratch-built heads and parts, ornamental and architectural detail, jewellery components, master patterns for casting, and any conversion work where crisp edges have to survive to the painted model.

It bonds to wood, metal, resin, plastic, ceramic, porcelain, vinyl, glass, stone and foam, and to itself at any stage of cure.

Note on working time: Aves quote 1–3 hours on the Apoxie Clay product page, but list 2 hours for this product on their own comparison chart. In practice, plan around roughly two hours and mix in batches you can use inside that window. Warm conditions will shorten it.

• Use Aves Finishing Solution to smooth it, not water. This is Aves' own advice for this specific product and it is the single biggest quality difference you will notice. Water turns the surface into a mucky mess; the solvent gives clean crisp lines and stops tool drag. Save water for smoothing large flat areas only.
• Mix for a full two minutes. Under-mixing is the number one cause of a batch that never properly hardens. Keep going until the colour is completely uniform — on the white this is easy to judge, because any streaking shows immediately.
• Mix what you need, not what is in the jar. With 454 g on the bench the temptation is to mix big. The unmixed parts keep indefinitely in sealed jars; mixed clay does not. Work in batches you can use inside the working window.
• Keep it clean. A white clay picks up every trace of graphite, pigment and dirty tooling. Wash your hands before you start and wipe tools between passes, or you will spend the finishing stage chasing grey smudges.
• If it is sticky, wait. Fresh from the jars it can feel tacky. Let it rest around twenty minutes — it becomes progressively less sticky and far better at holding detail as it firms.
• A little olive oil on your fingertips stops it clinging to your hands while you work.
• Keep separate tools for A and B. Cross-contaminating the jars will slowly cure your stock in storage.

• It does not hold a large form as well as Apoxie Sculpt. The clay-like body that gives you crisp detail is also more prone to sagging under its own weight on big unsupported masses. Build bulk with Apoxie Sculpt over an armature, then detail with Clay on top — that is how the two are meant to work together.
• White shows every mark. That is the trade-off for a light working surface. Dirty hands, tool residue and stray pigment all read clearly. If you would rather not think about it, Native is the more forgiving colour to work in.
• If you need maximum whiteness, this is not the whitest Aves product. Super White Apoxie is the brighter white of the two, at the cost of a shorter one-hour working window and a firmer putty body. Apoxie Clay White gives you the longer working time and the finer clay feel.
• Sanding the cured product: wear a proper mask. Aves state that Apoxie Clay contains crystalline silica, and carry a warning that applies specifically to the cured product when it is sanded or abraded into airborne dust. This is a genuine respiratory hazard, not a formality. Use a fitted dust mask and eye protection, or wet-sand. Apoxie Sculpt does not carry this warning — this one does.
• Handling uncured material: wear nitrile gloves when mixing parts A and B. The uncured resin may cause an allergic skin reaction and eye irritation. Keep out of reach of children.
• Lower heat tolerance than the rest of the range. 300 °F against 325 °F for Apoxie Sculpt and 500 °F for FIXIT. Fine for anything you will realistically do on a workbench, worth knowing if heat is involved.
• Cured Aves products are extremely difficult to remove. Aves themselves say nothing reliably dissolves it once set. Protect your work surface and your tools before you start rather than after.

Apoxie Clay is stocked in White and Native, in 1/4 lb, 1 lb and 3 lb. We also carry the full Apoxie Sculpt colour range, Super White Apoxie, and Apoxie Paste in 8 fl oz and 28 fl oz — all held here in the UK.

Search our shop for "Aves" to see everything currently in stock.

• Dispatched the same working day on orders placed before 3.30 PM, Monday to Friday
• Shipped from Derby, United Kingdom — not from the US or the EU
• Price includes UK VAT. No customs charges and no courier handling fees on delivery
• Tracked delivery, fully insured
• 30-day returns on unopened stock