Mer Almagro’s Video of the enameling technique

Enjoy 2 clips from Mer Almagro’s Video of the enameling technique of Grisalla Opal.

Enjoy a clip from Mer Almagro’s Video of the enameling technique of Grisalla Opal. Here Mer gives you a beautiful Grisaille Enamel tutorial. I have seen Grisaille used with white opaque enamels over black opaque but her application using opals is just beautiful. After 30 years of enameling, you would think you have seen all the techniques. This is definitely a technique I will be using, I can see it helping me in my ocean scenes as well as in my animals. Her work is not only beautiful but also shows any enamelist a very delicate approach to shading your enamels. Here is a link to purchase her video below.

http://enamelworkshop.com/

https://en.wikipedia.org/wiki/Grisaille

Foil Comparison for Enameling

Foil Comparison for Enameling

Foil Comparison for Enameling

Take a look at my notes on the available foil options for those of you that love to enamel.

Foil options for Enamelist

Foil options for Enamelist

Thompson’s foil gives you the best dollar value. I have tried many over the years and some not show here have been so thin they were impossible to use.

Thick to thin:

Hauser Miller will roll 24k gold foil to  .002 in very nice if you want to emboss the foil or use it on a top layer of the enamels.

Rio grand Tool Supplies is 23K gold and is very easy to use.

The 24 k foil listed here from Coral now being sold by Enamel Art Supply is in third place with thickness.

And Thompson’s Enamel Supply is the thinnest in this group.  But also the best value for the dollar. *)

Have fun enameling, Patsy

Painting Enamels with John Killmaster

Master John Killmaster has shared his painting enamel technique with us. Here he uses liquid enamels.

 

 

Vitreous Enamel Flux Test Plates =Various Findings

Vitreous Enamel Flux Test Plates =Various Findings

                     In building a good foundation get to know vitreous enamel flux. 

Here I have created to share my enamel flux test plates.

Like any painting technique there are various primers for various jobs. In art of enameling we have quite a few fluxes but they produce various findings. You have heard of a car having the rust primer coat = flux, before the color coat, If you ever finish a beautiful wooden object you would have the sand and sealer = flux, before the varnish coat. And preparing metal to enamel is the same way, as an enamelist I have prepared an enamel flux test plate.

Enamels are reactive to metal, not all but 90% I would say. So flux coats are usually necessary, and there are several hardness of these fluxes from available manufactures.

Next, I know what does that mater? visit my thoughts, understand vitreous enamel flux, with my enamel flux test plates  https://alohilanidesigns.com/vitreous-enamel-flux-comparison/

Vitreous Enamel Flux Comparison

Vitreous Enamel Flux Comparison with what is on the market today.

Enamels are reactive to metal, not all but 90% I would say. So flux coats on metal before enameling is usually necessary, and there are several hardness of these fluxes.

First, view my test plate.

Flux Test Plate 1 Soyer #3 not fired

Flux Test Plate 1 Soyer #3 not fired

Here you have Ninomiya 3 Shippo 110, Vintage Thompson 757, Hirosawa S-1S and Soyer 3. These are all vitreous enamel flux, from different manufactures.I have fired at 1450 for 1 minute and as you can see all the flux has fused except the Soyer 3.

With another firing for 1.5 minutes you can see Soyer has fused.

Second firing of enamel Flux Test Plate

Second firing of enamel Flux Test Plate Soyer #3 far right.

                                         Right! so Soyer 3 is the hardest firing flux.

Ideally we want our flux, in enameling, to keep the reactive enamels from touching the metal surface. If this is the toughest barrier why not use it!

There are other good products here, and some might use these brands of enamel flux, but when it comes to reds which are usually the most reactive enamel colors, it is the best barrier.

I have spent most of my enameling career as a cloisonne jewelry artist, and making cells to hole enamel can create different challenges that other enamel techniques.

Here are a couple of diagrams to explain.

Flux Fired Correctly

Flux Fired Correctly

Over heating the jewel causes this..

Flux Over Fired

Flux Over Fired

Cells contain more heat than open surface techniques of enameling.  When enamels are over fired they travel to the hottest point, up the walls of cloison wires, lowering your base layer of protection = thinning the flux at the center point and what do you get?…Enamels the color of MUD.

Happy Enameling