Watercolors are a great way to get into your designs together and see on paper first, if what you have imaged will be delivered in your final enameling design.
Get yourself a set of Winsor Newton Travel Watercolors, A block of watercolor paper that is Hot Pressed and a #3 Sable brush.
The travel kit of colors have 10 – 12 colors, all you need to start designing your enameled project. A block of watercolor paper is just that. The stack of paper’s edges are glued together, because when it gets wet in normal conditions of painting with water the paper would warp , and it prevents that. As hot press is more likely to warp than cold pressed, but it is a smoother paper than cold pressed. Great for small painting of detail. And I find a #3 sable brush is a good size to get the job done.
I begin my enameling classes and my own jewels with design time in
watercolors. The paint can be used in layering very similar enameling, where I apply a layer of enamels and fire before applying another color, watercolors can be apply in one layer of color and let it dry before applying another.
One book that was useful to me is “Light up your Watercolors” by Linda Stevens Moyers. In her book she starts color with the medium color = value, then going to her warm colors = interest points, and then the cool colors this being her darks. We have to layer in a different order as our warm color would burn out if laid in too soon. So I apply them in the order of cool colors first -I start with my dark color, then medium color = value colors and last the warm color to produce the impact.
In designing you cloisonne fine jewelry here is something to keep in mind. I want to show you what happens in cloisonne as wires attract heat and cause the base meal to distort.
This is a cloisonne piece I am currently working on and thought it
would be a good opportunity to show how things can move.
There is a concentration of wires in the top left of my design. As I am layering in enamels the cloisonne jewel starts to bow up in this area.
Here you can see the top left of the enamel piece is higher, and the right base of the enamel piece is bowing. And can cause several problems if not dealt with. One, as you have planned your warm colors in the high area you could sand it all off while trying to make a nice even dome, because you have several layers of flux before you have added the warm colors. Second in setting the right side will be higher and maybe your bezel will not cover the same as on the left side.
And the farther you go without knowing and planning more can go wrong. The counter enamel also likes the heat and will pool under this area, and can eventually cause the enamel jewel to sink in the area as well.
As the points of my piece are lifting and the center starts going down I know I have reached the limits of layering in the enamels.
One way to counter this is by adding cloison wire to the back of the jewel opposite of the wire work on the front of the jewel.
I read everything I can find on enameling. And last year I found a book written in the late 1800’s. There was a chapter on keeping the studio and kiln clean. I was happy to see this as I have heard many many times how anal enamelist are.
One thing most enamelist do not like is to get oxides in their fired enamel piece. It can cause cracking and bubbles. So the best way is to keep your kiln and trivets free of these oxides. The oxidation builds up on your trivets from use. So you need to wipe them off from time to time.
I use a blow dryer every few firings and blow out the kiln. Also the enamel can building up on your trivet, you can scrap it off and add some jeweler’s rouge to prevent this. This jewellers rouge is also what you want to put on the iron if you needed to flatten you work that is warping.
I use distilled water to wash my enamels. And I look prior to using the washed enamels for spots of deterioration. These look like small white spots. And when fired will remain white spots. If you see them and pull them out usually you are okay. But as you continue to work and notice the enamels are floating on the surface, you may have to take further action.
I had a lot of trouble a couple of years ago with enameling going bad. You can throw them away and reorder. You can re-wash them all along way while using the wet enamel. To remove the floaties. This mold like substance grows on wet enamels. So they may not show up in the beginning but hours later while sitting wet. You can rinse them with nitric and water. But not your reds. One problem that arises from this is it hardens the enamel. Meaning it is now a higher fire or longer fire enamel. Which can be used to advantage if you need it.
A tip credited to Valeri Timofeev .
“thick metal = thin enamel, thin metal = thick enamel” This means if you are enameling say cloisonne, you can get pretty thick enamels on the metal plate of your choice, as long as you counter the same thickness. I have enameled to a mm in thickness on 20 ga metal= thin metal. But if you have 16 ga metal and want to enamel on it, you can do so with one layer of enamel and no counter.
Here is cloisonne enameling and the
enamels are approximately 1mm in depth.
And here on the left is thick metals of 16 ga with one coat of flux and one color of red enamel.
Tuff Break is the name of “That Rubber Stuff” I use to set my cloisonné enamel jewels. For several reasons in all my settings of enamels jewelry. One it adds protect the counter enamel while setting, by giving the enamel piece a cushion which help me not crack the piece during the process of closing the bezel over the delicate enamel edge. Secondly, it removes that clingy sound of the enamel against the metal once the piece is complete.
Many enamelist use glues or a piece of plastic behind the enameled piece and even sawdust. I feel this adds a more professional element to the cloisonné jewel.
See my setting cloisonné enamel jewels http://alohilanidesigns.com/setting-cloisonne-enamels/ and you will get a better picture what I an sharing here.
I purchase That Rubber Stuff from Katharine. Their phone number is 1-800-637-6694 and company name is Anrob (Andrew Roberts Inc) in Masachussetts. You can find her contact in Resources.
I wanted to mention when you are designing look at these images. Think about the turtle and the pelican. If you squint your eyes and look at either in the photos you took it is easier to see the turtle as it is dark in the middle of the piece = the turtle and the water right around it is light. The pelican is harder to see as it is very close in color value. The pelican and the background.
Also something that helps make a design show up is to use complementary colors to help off set the desired image. As in this color sample.