Plique a Jour with Brenda Radford

Brenda Radford of Radford Studios joined me last fall at the FSG Wildacres Masters Workshop where we work on alternative backing techniques for Plique a Jour. We researched and experimented with different products to allow us to create large cell openings to hold the the enamels.

She is kind enough to share her work after returning to her studio in Ontario Canada. 18k White and 18k Yellow Gold,  and Diamonds.

Thank you Brenda for sharing, Beautiful work!

Plique a Jour and Torch Firing

In my research of alternative methods used in Plique a Jour I can across this article in Glass on Metal, by Carmen Lombardi. The issue is February 2009. In the article she used sterling silver as her metal to pierce out her plique design, used titanium as her backing ( enamels do not stick to titanium), and a torch to fire her enamels.        

There are many way to do things, check it out www.glass-on-metal.com/ Back issues run about $5.00

Thanks to Carmen for sharing, and back to cloisonne.

Plique a Jour with Alternative Backings

I have found in researching alternative ways to provide backing for plique a jour a material form Fusion Headquarters at www.fusionheadquarters.com Carmen at 503-538-5281

A material they carry is called Wet Felt and  comes in a 36″ x 36″ roll. This felt material can be cut in sections and shaped to your desired form. At this point you can let it air dry, or oven dry at 250 degrees until the form is hardened. It is still too rough to apply enamels on but if you layer on their fiber coat, as many times as it takes to create a even surface, then you can sand it to get a very nice smooth surface. Apply kiln wash and after all is dry, place plique a jour form on the felt form and enamel away!

I believe the materials are most helpful in creating larger forms such as vessels. I will post some photos soon.

Be sure to wear protection mask while sanding. And one draw back I found is that he shelf life of the fiber coat is short. So make yourself a note to shake it up often and when mine got too thick I added water.

Fusion Headquarters does not have the Fiber Coat on their site due to the short shelf life = 6 months, and the expense. If you call they will have it for you in a couple of days.

Enamels and Nitric

I use nitric acid to clean the 18k gold after enameling in the technique of plique a jour. I have started a list of the enamel that is not affected. By the way if there is a B in front of the number it is Bovano.

Colors in Nitric

A105B         When dipped in nitric acid in a quick bath after enameling it dulls the shine and pits the surface.   When fired the dullness get worse.

BOVANO #3     HOLDS UP REAL WELL IN  NITRIC ACID.

B 518  This enamel was deteriorating, so I put a few drops of nitric acid in the 518, rinsed well and tested the firing of, with no effects except it harden the enamel.Which makes it a longer fire.

Ninomiya #N3,  does not work well when washed with Nirtic before enameling.

B 610             Great

N G 338       Great

NG 302       Great

B 209          Great

L 69

H 24

LT 74

LT 71

LT 70

H 55

N 73

N 72

N 71

One thing I figured out this week when using colors that are affected by the acid is to add a layer of Bovano’s # 3 over the color and all is fine.

Plique a Jour

Use soft firing enamels. Or enamels of higher expansion rate.

Plique a Jour in and on Copper

Several years ago I read an article by Bill Helwig on Plique a Jour using copper sheet and a backing of copper foil. Not until recently did I find the time to experiment with the art of plique a jour and remember this article to review as I began my exploration. I could remember him saying enamels do not adhere to copper.

There is still some part of that statement I have questions on and will get to those later. But for now wanted to share the process. You can read the whole article in Glass on Metal   www.glass-on-metal.com/pastart/bridging_the_gap.htm but to wet your appetite here are several photos of his technique.

One of the wonderful properties of copper and enamels is the warm qualities it give the enamel! In image one he has cut out the copper sheet and in image two he has secured the copper foil to the back of his design. From here he has filled the cells and fired to the point of completion and of course there is fire scale to deal with but he has created a beautiful piece!

Plique a Jour a US Master

There have been few masters of the art of plique à jour, most notably,             

Fernand Thesmar, Gustave Gaudernack, Rene Lalique, and P. Ovchinnikov

And today Mr. Timofeev exists in the grand tradition

of the dynamic enamelist whose convictions and workmanship respect,

but know no master.  He is completely independent from any influence

that would suggest a side track, a reliance upon tentative worth or

speculation.  His great resonance and command can only be faulted by

knowing too much and by being far too resourceful for the more modern habits.

Review his tradition techniques in this article from Glass on Metal

www.glass-on-metal.com/pastart/pliqueajour.htm

Here are a few of his photographs showing the intricate technique.

Pilque a Jour

Millenet in Enamelling on Metal states to use larger granules of enamels, consistent in size for plique to acquire a clearer transparent. Also he puts the Klyr Fire against the cell wall then adds the enamel.

Guild of Enamellers’ Bursary Award for 2010

The Guild of Enamellers is delighted to announce the winner of their annual Bursary Award – Bronagh Mullan who has recently graduated from Birmingham City University, School of Jewellery where her interest in enamelling was sparked when she attended a part-time course by a visiting tutor and practising enameller, Penny Davis. This motivated Bronagh to use enamel throughout her remaining jewellery projects at university, experimenting with opaque and transparent enamels.

The Selectors for the Award were particularly impressed by Bronagh’s rare gift for combining traditional enamelling techniques with modern technology such as laser marking and JewelCAD but all her jewellery is hand-finished. Using plique à jour she brings delicate colourful enamel detail to the more aggressive shapes in her work, harmonizing these two opposing styles to produce a balanced end product. Her passion for enamelling results in well executed detailed pieces in precious metal, incorporating enamel and stone setting in interesting positions.

Bronagh is currently working as a jewellery designer for a manufacturer in Birmingham’s Jewellery Quarter. Meanwhile in her own time she continues to experiment with enamelling and hopes to exhibit in the New Year. The Guild of Enamellers is proud to support Bronagh’s ambition to further develop her skills.

info from www.guildofenamellers.org

Plique a Jour Project

We had a workshop in Wildacers NC through the FSG, Fall 2009.

This is the project I demo in the workshop. We used foils to back our enamels.

This is a beautiful piece!!!! I’m a newbie to enameling but excited about learning.
Thank you for sharing your art and your expertise.
I look forward to being back often.
Angela in Austin, Tx

Angela,

Welcome to enameling. And thank you. It is a beautiful art and very additive! Please don’t hesitate to ask questions. Patsy

Pilque à Jour

What is Plique à Jour

Miniature stain glass window effect in jewelry. Frames of metal with no backing allowing the light to come through. Developed in France and Italy early in the 14th century.  There are several methods of plique à jour, and I will show you the techniques I use.

This is how we usually think of pierced plique à jour. Most artists will use this method with the aid of Klyre Fire, a glue substance, to help  hold in the powdered enamels before firing. This piece of plique à jour is created in 18k gold sheet of 22 ga.  The use of gold gives you more strength and allows you to create jewels in a thinner gauge.

The Bird of Paradise Pendant is more involved. I want to show where you can go with pliqué a jour. Here I have chased the Bird of Paradise in 18k gold sheet of 16 ga. and cut away the negative space. I used 18k flat wire to make the leaves and soldered them in place with hard solder. With such large open spaces the use of foils aid in holding the enamel in, until fired, then removed. The stone setting took place before the enameling. Less worry of cracking your enameled piece.

This is a pair of cloisonné earrings with a drop of plique à jour leaves and a ruby. I would never get a stone cut like this much less be able to afford it. The leaves above the ruby is 18 ga sheet pierced and sawn out and filled with enamels.

This is a nice option when you have an unusual shape or maybe you do not have the color of stone you would like for your jewel on hand. This can be accomplished with creating a shape with 18k gold wire and soldered closed. The enamels in this case were laid in after the ruby was set. You can use Klyre Fire or back with foils to aid in holding the enamels in place prior to firing.

This enamel jewel of plique a jour is made of 18k gold sheet. The pedals have been sawn out and formed in a dapping block. The opens were pierced and filled with enamels  using foil for support. And assembled after firing.