This is what I call Enamel Test Plates! Raj Lathigara, Ph.D. is serious about his journey in enameling. Getting to know your product is so important. I completely understand we are so excited when we see this beautiful art for of enameling, we just want to jump in and start playing.
But, if you can take the time, as Raj did here to make test plates of all your enamels you will find it to be a huge advantage as you begin your journey.
Transparent Enamel test plates of Ninomiya
Opal Enamel Test Plates of Ninomiya
Opaque Enamel Test Plates of Ninomiya
Attention to detail! Rajesh will be an amazing enamelist!
How to make a test plate. http://alohilanidesigns.com/test-plate-enamels-how-to/
Just enjoyed viewing all of your designs! Do you have any suggestions on shading within the cells of your cloisonne or know of any publications I could read to help me out?
Thanks for visiting and I am happy to try to help. I can not recommend one book on shading, but I can say for me it took time. I was a Fine Arts Major in school and only used pin and ink. My love was drawing. When I first saw cloisonne I was hooked forever and begin a quest to learn colors, and how to use colors in enamels.
I began photographing everything that was of interest to me. When diving, hiking, walking, always carrying a camera. With these photo I made albums to use as resources. I would take a month or so at a time and draw and paint till I got the impact I needed in my art.
Then it takes time to look and see the colors. One trick I have learned is to take a peice of paper and cut a hole in it. Place this over a picture and you can see better it is a pink white or a red green. There is more than one or two whites in a white flower petal. It makes the jewel much more interesting to use more than a couple of colors in the same family when shading.
The Huma Huma on the front of the site has 29 colors from blue to green.
My color plate of pinks has at least 14 colors on it. Now I know this is way too much for many artist but if I lay in half of these colors next to each other I can create a beautiful shading from light pink to dark pink by placing these next to each other.
How to use colors in enameling = laying colors of enamel next to each other of the same color family, and each time you apply a layer of enamel you need to shift to the left or right to avoid a line. I like to work from dark to light. This way after a couple of layers of enamel are laid in and fired I drop out the darkest color of enamel, say it was on the right of my design, then shift all my colors of enamel to the right, I can get a very even and beautiful gradation of color!
A book of watercolors I used is “Light Up Your Watercolors” by Linda Stevens Moyer. She has a couple of exercises you can try, and she uses her warm colors to bring the information forward. Also try “Colored Pencil Fast Techniques” by Bet Borgenson. She teaches Juxtaposing Color which is great for color impact. You can use her exercises in watercolors as well.
The first assignment for all of my students is get a set of water color paints and a pad of hot press watercolor paper and start painting.
Happy Enameling! Patsy
Let me introduce you to an amazing Artist. “I am Gocha Gurgenidze it has been 15 years since I am working , I started off as hobby but later on it turned out as my profession. Material I work on is pure gold and silver , I do not show my work in galleries only personal orders , a lot of my work is kept in personal collection of patriarch , unfortunately I just started to take pictures of my work recently , obviously I sell them. Everything is handmade. Thanks for appreciating my work”
Wow, wow, wow!! That is what I call cloisonné!! a contact for Gocha firstname.lastname@example.org
A new kiln is most likely the most important investment an enamelist will make. It pretty simple to be sure it will have a long life by preventing the enamels from sticking to the floor of the kiln.
First you need kiln wash. You can purchase this from a ceramic supply store. Very little is needed. Add water, to the consistence of thin pancake mix. The firebrick will absorb the solution quickly, thus you need it on the wet side. Apply first to the kiln floor. From here some artist buy shelf paper, again from your ceramic supplier. Or you can have ceramic shelves that you apply kiln wash.
Let the kiln wash dry over night. I have tried to dry it by heating my kiln only to have it pop off. Over a period of time you have spilt enamel on the shelf. Just scrape it off and reapply kiln wash and enamel away. Shelf in place and I am ready to enamel!
Great book on watercolors. She uses the white of the paper to stay bright as we would use our fine silver. Adding warm colors and light to make the information come forward, adding shadows and cool colors to create distance.
Try the exercise she has, it helps you understand more about layering colors to achieve bright colors. Afterwards practice layering in enamels by making test plates and see the results. Enamels have to layer in a different order.
Water colors can layer yellows first then reds and pinks followed by the darker colors, like blues and greens. In enameling our warm color burn out so we need to leave them toward the end. So you just have to apply this in reverse. I start with the darkest colors first. Then medium and light colors. As I layer and fire I leave out the darkest color and continue with the medium and light colors. And finally have my lightest color last.
So enamelist add fluxes to the last layers to fill the cell. I have had this get cloudy on me so I continue with color in the same family but very light. The warm colors you can start adding about half way through the project using flux for several layers first then jumping into the yellows, oranges and reds.