Welcome to Enamels & Enameling of Cloisonne Jewelry, Plique a Jour, Champleve and many other Enamel Jewelry Techniques.
I’m excited to discuss cloisonne jewelry and enamel jewelry making with you here. I hope this will turn out to be a great resource for all of us as we share our ideas, challenges, solutions, and finally our finished enamel jewelry. Anyone who toils in their basement studio on their future masterpieces knows that it can be a lonely place when you hit a speed bump. If we put our heads together, we can spend less time crying over spilt gold, and more time producing great enamel jewelry!
Please, Please, write me here on this site with your questions or thoughts. I will be happy to help anyone. I am asked the same question many times. This is one reason I started the site, so not to repeat myself. When artist write me personally the info is not shared with everyone. Together we can build this website to be a great resource for all of us.
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Each Topic on the left of this page is a chapter that is constantly growing as I add demos and information to them. So visit often and learn the beautiful art of Cloisonne and many other Enamel techniques.
Don’t forget to checkout my kilns for enameling. They are awesome and the most affordable.
Here is a quick view of our 55F-TEW model. This is the 5 x 5 interior with a digital controller and a window. Kilns
A question came up today about hard, medium, and low firing enamels.
Hard firing enamels are fired at a higher temperature as in the 1500′s degree range or longer in the kiln.
Medium firing enamels I think of using in 1400′s degree range, or at higher temp as 1500 degrees, but less time.
Low firing enamels maybe fired in the 1300′s or even in the 1400′s with less time.
The purpose of all this is two things expansion of the metal being used and your technique being used.
Start with copper as it is used most commonly in enamels.
Copper oxidizes the fastest of the metals we use in enameling. We balance this by using medium firing enamels so they melt or fuse before the copper has time to oxide. If it oxides the enamel is likely to flake off or just discolor.
Many enameling on copper use the oxidation to get some beautiful colors.
You can fire at a higher temperature so it fuses quickly not allowing the copper to oxidize. Another way to balance this is to use finer grit of enamel. The finer grit will fuse quicker than a larger grit of enamel without allowing oxygen to get to the copper. This allows the enamellist to achieve that beautiful gold or stunning golden orange copper color.
It is best to know the fusing points of all your enamels so you know which ones to apply as a base or flux. Your base coat of enamel or known as flux, should be the hardest enamel you are applying to your base metal so you do not have these problems.
Above the flux was a lower firing enamel than the top coats. So as the top layers melted the flux rose up and the top layer of enamel sank down.
2) Same here,
The flux coat of enamel was not hard enough to prevent the following layers of enamel from touching the sliver. And the brownish color of enamel is just burnt.
In cloisonné we never want our warm colors to touch the silver. It causes burning. Silver is going to hold heat longer than copper so we use a hard firing base. And in some incidences we will use several layers of the hard firing flux before layering in our warm colors to be very sure the red never touches the silver base.
A comment to address
“I’m torch-firing, I always have my work in my sight so I just watch for signs of melting, which happens very fast. I’ve had “pull through” with Titanium White. Titanium White really reacts nicely with copper and you can get some really lovely, but unpredictable, effects. With a little overfiring the enamel turns a beautiful rust color and in spots will be green.”
Yes these effects can be used to your advantage, this is the oxidation of the copper coming through. And in torch firing I realize you are not going by temperature and have the advantage of seeing all that is happening.
Enameling on copper, as in painting enamel in this piece,
It is necessary to use a hard firing flux as it will be fired many times and I do not want the painting to disappear into the base coat of flux. Also in repeated firings the copper can still oxidize through the enamel and show a color change after many firings. As I paint in my image I need the painting enamel to adhere to the base coat of flux by firing the piece, then I can continue layering my painting with enamel colors (soft firing enamel)that fire at a lower temperature or less time. The domed metal add strength or less expansion. So it can handle a harder firing enamel without so much expansion or movement in the enamel. If the base coat was a lower firing temperature it would become soft enough in firing the image would distort as the enamel base or flux would move before the image enamels fuse. Painting enamels are a soft or low firing enamel= as they are ground to a face powder grit.
A color plate is a very good answer to help you know which is which when you are not sure.
The enamel dot fourth from the left is still grainy after all the rest are fused.
This color plate shows the top row, second from the right, as becoming liquid so much faster than all the other enamels it is completely flat.
If you have three enamel on a plate, one hard firing, one medium firing, one low firing and fire the plate once you will see they melt at different speeds.
If you want to use them all in one project just remember the hard is on the bottom then the medium and then the soft or low firing enamel. This is also why you can use unleaded with leaded enamels as long as you put the unleaded on the bottom as it is a high fire enamel.