Jewelry Lovers

Enamel application

There are two methods for applying enamel to metal — dusting (which is unsuitable for small items of jewellery) and wet-laying. For wet-laying, put a little enamel powder into a clean ceramic dish and mix it with distilled water by degree. Apply the resulting mixture thinly and evenly over small areas of the metal base with a quill or brush. If the enamel forms lumps and drops off, it is too wet; if it sticks to the quill, it is too dry. Tap the enamelled disc to remove air bubbles, soak up any excess moisture with a paper towel and place it near a kiln until it has thoroughly dried out.

Firing

Although you can use a blow torch for enamelling, to achieve good results, it is advisable that you use a kiln. Small, purpose-built kilns are available from craft stores. Since the temperature necessary for firing enamel is very high — 1652°F (900°C) — make sure that you supervize children at all times.

Before you enamel the top side of your metal disc, you must first counter-enamel the reverse side. This process is designed to prevent the flat metal shape from warping and curving as it cools. The counter enamel layer counteracts the tensions that result from the firing and cooling processes and prevents the enamel’s surface from cracking. Wet-lay the reverse side of your clean, metal surface and, using tweezers, put the enamel- coated disc onto a panning mesh. Using a firing fork, put it into the kiln (this should be pre-heated at 1652°F (900°C)). After about 30 seconds, open the kiln door and quickly check the enamel. When it becomes bright, smooth and glossy, remove it from the the kiln and cool, then clean the base with steel wire and a solution of vinegar and salt. The top side is now ready for wet-laying and firing. Apply the moist enamel to the top side and, using tweezers, place it onto a panning mesh supported by a stilt to prevent the base from sticking to the wire mesh. Heat the disc in the kiln using the same method as described above.

There are many other methods for enamelling, but most of these are complicated and require specialist equipment and materials. For example, champleve enamelling involves carving out a design in the metal’s surface and wet-laying moist enamel into the depressions. Cloisonne enamelling is a method of enclosing coloured enamel in small, wire compartments or cells. The cloisonné wire, which is made from either copper, gold or silver, is cut and shaped with pliers and is then applied to a metal base using clear enamel in your chosen design. After firing in a kiln, the compartments are wet-laid with thin and even layers of clear enamel.

Plique a jour enamelling is a similar technique to cloisonné in so far as the enamel is enclosed in wire cells, but for this method, there is no metal backing behind the enamel, so the translucent colours take on the appearance of a stained-glass window.

Two other well-known enamelling techniques are Limoges(painted enamel) and grisaille (monochrome painting). For the Limogesmethod, enamel the metal base with three thin layers of white enamel. After firing in a kiln, draw a design onto the surface enamel and dry under a lamp (the heat of a kiln is such that it will distort the colours). In the grisaille process, the surface of the metal base is enamelled with three thin layers of black enamel which are then fired before layering the surface with white grisaille enamel mixed with the painting medium. The result is a gray enamel ground which is then built up with layers of black, gray, brown or purple enamel of differing thicknesses, creating a subtle relief effect.

Possibly related posts: (automatically generated)
Enamel Work continue…