The Art of Fine Enameling

Preface

Welcome to my completely revised book: The Art of Fine Enameling, second edition. My first book was published in 2002, more than 15 years ago, and we have all grown and learned a lot since then, which this sequel will pass on to you, the reader. Who says an old dog can’t learn new tricks!

The wonderful world of enamels is so diverse, practically no other medium can compare. In its easiest terms, vitreous enameling is the fusing of glass to metal under high-temperature conditions. Thus, anything that can be made from enamel-friendly metal can be enameled—anything from vases to buttons, frames to jewelry, metal mesh to solid forms, large to small, or fancy to plain. Even street signs and the tub inside your common household washing machine are most likely enameled. With technology and innovation, this list just keeps increasing.

Fighting Fish, Cloisonné and painting enamel on 6 x 6 copper by Krisztina Nagy Vagenas

Short and Stout, sifted on micro shell formed copper, electroformed copper, about 3½ x 4, using sterling and fine silvers by Alison Pack

Copper bowl enameled by scrolling and overfiring, by Irmgard Carpenter

This book is a look into the beauty of fine enameling, where artwork is created with colors and textures that bring joy to the heart. To start, why not simply browse the more than 400 finished enamels that are included from more than 165 enamelists? You will get a feel for the diversity of the medium and the charm of the finished pieces. Unlike other art forms such as painting and fabric arts, enamels won’t fade with time; they are as permanent a medium as you will find.

As in the first book, the projects included are by contemporary living enamelists, not all full-time professionals, but we do all teach, either at the college level or at the major craft education centers around the country. Most of the material included the first time around is included in this book too. The organization is updated, 15 years of experience has been added, about half the projects have changed, nameless processes are now named, the extensive "Troubleshooting" chapter has been updated, and two types of mini-projects to expand your learning experience are included. In addition, with each project, I have added a Technique Gallery of other artists working in that technique to give a view of other ways that technique can look and be used. Some of these artists represented here use enamels in their work only periodically, but these show how enamels can enhance other art forms without the artist having to be a full-time enamelist.

Man of Sorrows, Camaieu by Harold B. Helwig

Antique button—Japanese Enamel on Silver

Separation Enamel on copper by Joan Schlaifer

Star Gazer Calla Lily, anticlastic raising on fine silver with leaded enamel brooch, by Tricia Young

The projects included from my first book are some of the classical techniques such as Champlevé, Cloisonné, and Plique-à-jour. The new projects are other traditional techniques or newer approaches to materials such as the use of graphite pencil or enameling on steel. The mixture of projects was meant to teach the basics and also provide instruction for more esoteric forms of enameling.

The mini-projects are general descriptions on a technique without giving full step-by-step instruction with photos. Two types of mini-projects are included: One type is associated with most projects—the variations to a full project. The other, which is labeled Learn the Technique (LTT), provides the reader with more than 50 different processes.

Remember the wise words of Bill Helwig, mentor to many of the artists in this book: If you can repeat a mistake three times, it becomes a technique. An example is the error of overfiring silver on a copper base, forming a eutectic. This is now a project, "Eutectic Effect, which gives some guidelines on how to control the process. Always keep in mind that although something didn’t come out the way you envisioned it, it may be just wonderful; we’ll call that Oops perfect!"

Most of my work today is making studio buttons, those little pieces of artwork, created for sale to button collectors. As most people have not heard of button collecting (one of the top hobbies in the country), I wanted to show some of the gorgeous antique enameled buttons, which were created in many of the classical enameling techniques. I hope you find this as fascinating as I do.

We are always happy when younger people enter the field of enameling. This is especially important now, as many enamelists are getting older and some have already retired. For those contemporary enamelists who have passed, their work lives on.

Enamelists do not always agree on how things should be done. Thus the information in this book should be viewed as merely a starting point, as it reflects the author’s and other artists’ views. Although some of the science about enamels is included, in general this book is a how-to text. More of the science can be found in the first 5 volumes of Glass on Metal (GOM) magazine, originally published in 1982 by Thompson Enamel, and now published by the Carpenter Art Enamel Foundation. Much of the writing was by Woodrow W. Carpenter, who has had a large impact in the enameling field.

Of course, I still show many gorgeous enamels for eye candy. Thus the purpose of the book is not just a how-to primer but also a coffee-table book and a way to learn and appreciate the art of fine enameling.

Karen L. Cohen

What Is Enameling?

Enameling is an ancient art form dating back centuries. The oldest known enameled pieces are six Cloisonné gold rings that date back to 1300 BC during the Mycenaean period! The first three techniques of enameling (initially Cloisonné and Champlevé, with Plique-à-jour coming later) all have metal separating the enamel. A revolution occurred in the late 15th century when the Pénicaud family, in Limoges, France, innovated a new method of painting with enamels such that no metal showed at all. See Photo 1.

Subjects and objects used for enamels are widespread, but religious themes and objects have always been a favorite. Other common themes are flowers and animals. See Photo 2.

Madonna and Child, Botticelli; Limoges; copper base, fine silver and pure gold foils, gold leaf; all leaded enamels; size of enamel, 2⅝ x 2⅞, by Karin Pohl

Arctic Fox; pendant, 2¼ x 2¼; enamel on copper; 18k, 22k, and 24k gold, diamond; enamelist Mona Szabados and metalsmith Alex Szabados

Soldered wires and thin backplate then repoussed by Fredricka Kulicke, who creates two garnet jewels (enamel used instead of gemstones)

Common objects are vases, spoons, badges, emblems, boxes, candlesticks, jewelry, buttons, wall pieces, and watches. Enamels have also been used instead of gemstones in precious jewelry and other objects. See Photo 3.

The Arts and Crafts movement, in modern times, has made a large impact in enameling. Kenneth F. Bates, an American university educator, moved enameling out of hobby art and is credited with influencing a multitude of modern enamelists. Today there are craft education schools and universities around the world teaching enameling. The most well-known organization of enamelists in the United States is The Enamelist Society. Other organizations are Grains of Glass (online group); the Center for Enamel Arts, which also sponsors classes; and the Enamel Arts Foundation, whose purpose is to promote enameling. In addition, the Carpenter Art Enamel Foundation (CAEF) is a nonprofit organization whose mission is to promote the art of enameling in all its incarnations. The CAEF has one of the largest buildings/facilities housing state-of-the-art workshops and a 1,100-piece art enamel museum, a large library and one of the few retail stores selling enamel materials. Many local guilds also exist, the largest being the Enamel Guild North East, which ranges up and down the East Coast of the United States.

Cloisonné is the most well-known enameling technique. In fact, some people call all enameling Cloisonné, causing confusion in the conversation. This is a misnomer and should be avoided. Even some books are titled using Cloisonné enameling when in fact they mean enameling in general. This chapter defines the most well-known enameling techniques and how to pronounce them.

Garland by Tanya Midgal—Basse Taille and Champlevé

Diving and Drowning, a Camaïeu with silver foil by Mary Chuduk

Bob Cat, a Cloisonné by Merry-Lee Rae

Through the years, a variety of vitreous enameling approaches have been developed. Some involve how the metal is prepared, and some involve how the enamel is applied. The following defines the most prevalent, but by no means all, techniques:

Basse Taille: (bäs tä’ ya) French for low cut. A technique in which a pattern is created in the metal backing before enameling. See Photo 4 and the project Basse Taille.

Camaïeu: (kâm ay’ euh) Also called en camaïeu, a term dating from the mid-18th century describing a Grisaille-like technique that uses a buildup of white enamel to create highlights and light areas. However, instead of using a black background, as in Grisaille, transparent enamel is laid in first, beneath the whites. The colors of the background are thus part of the shadows of the image and distinguish it from Grisaille. This technique is frequently used on snuffboxes, watches, and medallions. See Photo 5 and the project Impasto, Grisaille, and Camaïeu.

Champlevé: (shän l∂ vā’) French for raised field or raised plain. A technique in which enamel is inlaid into depressions in the metal, leaving metal exposed. The depressions can be made in a variety of ways. First done in the 3rd century AD by the Celts decorating their shields, this technique has been one of the favorite forms of enameling. See Photo 4 for a sample of combined Champlevé and Basse Taille, along with the project Champlevé.

Cloisonné: (kloi’ z∂ nā’ or klwa zô nā’) French for cloison or cell. A technique in which metal wires are bent to form a design; enamel is then inlaid into the resulting cloisons. Although this can be done in copper, contemporary Cloisonné is most frequently done in silver or gold. The Byzantine Empire, 6th century AD, was the setting for gold Cloisonné pieces of a religious nature. In the same time frame, the Japanese were producing scenes of nature. In China, Cloisonné has been used since the 13th century AD. See Photo 6 and the project Cloisonné.

En Résille Sur Verre: A very rare form of enameling on glass. This is done by gouging out sections in the glass and lining them with gold foil over which you enamel. So, technically, you enamel on gold, but it looks like it’s on the glass. This is very hard to do, and one would experience many failures in creating these pieces. See Photo 7.

En Résille Sur Verre by Rick McMullen

Catch the Eye by Kathleen Wilcox—2 copper pieces stacked with firescale on both, and the lower piece shows overfired clear

Use of Ginbari foil in nontraditional design by Krisztina Nagy Vagenas

Grisaille by Ora Kuller

Engine turner and Guilloché artist William Brinker uses a straightline engine design; relief-carved eyepiece by Amayak Stepanyan

Firescale Enameling: The use of the oxide buildup on a metal. Some pieces are completely done through firescale manipulation, and some pieces are enhanced by the additive use of firescale (could be from a flaked-off piece that is reattached). See Photo 8 and more information on firescale and the project Sgraffito—Traditional.

Ginbari Foil Embossing: (geen bär’ e) A technique, developed in Japan, using a foil design made with an embossing plate. This is an excellent technique for reproducing a design, as the embossing plate is reusable. There are two forms of Ginbari—high relief and low relief. The high relief somewhat has the look of Cloisonné; however, the lines are not wire, but rather embossed foil. The low relief is frequently used as a background for either Cloisonné or Limoges, as was done on many Ginbari antique buttons. See Photo 9 and the project Ginbari Foil Embossing.

Grisaille: (gri zāl’) French for grayness. A form of painting with enamel in a monochrome, using a black background, with a buildup of white overlays.

The grays of the shadows distinguish this technique from Impasto and Camaïeu. See Photo 10 and the project Impasto, Grisaille, and Camaïeu.

Guilloché: (gee yoh shay) French for engine turning. Engine turning is the mechanical cutting of lines on metal to create a design. Because the pattern is engraved, the reflection of light through the overcoating of transparent enamel is enhanced, and its brilliance can be seen as the piece is moved from side to side. For more information, see the section on engine turning machines, as well as Photo 11.

Impasto: (im pas’ tō or im pä’ stō) A form of painting with enamel in a monochrome, using a bare copper background, with a buildup of white overlays, similar to Grisaille. Multiple layers can be worked to build up a relief design, which can be sculptural in effect. Green, or sometimes red, shadows created are the result of the cuprous oxides—or copper firescale—reacting with the various thicknesses of the enamel. Finally, the piece may be covered with a transparent color. See Photo 12 and the project Impasto, Grisaille, and Camaïeu.

A Rose by Any Other Name, by Marilyn Seitlin Tendrich

Archangel Gabriel in Initial D by Karin Pohl

Water Earrings, pierced Plique-à-jour by Sarah Loch-Test

Includes all three classical enamel techiques—Plique-à-jour for the cup, Cloisonné for the base, and Champlevé for the bottom of the base, by Valeri Timofeev

Artist Mamie Ito used CAD to create the sterling frame

Artist Fay Rooke—Shõtai-Jippõ Plique-à-jour

Limoges: (lē mōzh’) A technique of painting with enamel in which different enamel colors are put next to each other without the separation of wire or surface metal. See Photo 13 and the project Painting with Enamels—Traditional Limoges.

Plique-à-jour: (plēk’ ä zhŏŏr’ or plē ka zhōōr’) French for membrane through which passes the light of day. A technique that resembles miniature stained glass and is reminiscent of its art nouveau and Old World influences. Plique-à-jour pieces, because of the open back, are more fragile than other types of enamels. There are two basic methods of enameling for Plique-à-jour: surface-tension enameled and wet-packed enameled with metal etching.

The surface-tension enameled method has two classical styles and some modern styles of metal construction. The first classical style is pierced. See Photo 14.

The second classical style is filigree (like a skeletal wire frame) where wires are bent and soldered together. See Photo 15.

The filigree style was first used in the 11th century and accepted all over the world. One modern method is to use CAD (computer-aided design) to design the framework and then have the piece cast before enameling. See Photo 16.

Another modern method is to use metal clay and create a design with openings to enamel. See Photo 570.

The wet-pack enameled with metal etching method is called Shõtai-Jippõ, and sometimes crystallized Cloisonné in Japan. See Photo 17 and the project Plique-à-jour for more information.

Raku: (rä kōō) A technique in which hot enamel that includes oxides is put through a reduction firing, resulting in iridescent colors. See Photos 18 and 19, and see LTT Raku Firing for more information.

Separation Enamel: This has a chemical reaction to the previously fused layers of enamel to change the viscosity of the applied area to allow the underneath colors to show through. See Photo 20 and the project Separation Enamel.

Sgraffito: (skrä fē’ tō) A technique in which lines are drawn through a layer of unfired enamel, exposing the fused enamel (or bare metal) underneath. This can be done into liquid or grain form enamel. See Photo 21, the two Sgraffito projects on pages 252 and 260, and LTT Spray & Sgraffito with Multiple Layers of Liquid Enamel.

Silkscreen: A technique in which designs on material mesh, such as silk, polyester, or nylon, are transferred onto an enameled base; this is similar to silkscreening on cloth. See Photo 22 for combined Sgraffito and Silkscreen in one piece and section Silkscreen for more information.

Stenciling: A technique in which a design is cut into a material, such as paper or Mylar, through which the enamel is applied to, or removed from, the metal, thus using the stencil as a positive or negative space. See Photo 23 and the project Stenciling.

Torch Fired: A method of enameling in which a torch is used for the heat source, instead of a kiln. See Photo 24 and the project Torch Fired Enameling.

Artist Jean Tudor—without silver nitrate

Mysteries of the Sea by Karen L. Cohen—with silver nitrate on the seaweed

Artist Tom Ellis

Folding into Nature by Alisa Looney, who uses liquid enamels, and sgraffitoes through 6 layers of color

Which Way to Go by Ute Conrad

Warrior in Red by Harold Balazs

Santa Cruz Mary by Ken Bova, who uses black and white liquid enamel with Sgraffito for this foldformed torch fired bowl

In addition, enameled pieces can be enhanced by decorative additives. See the chapter "Supplements and Add-Ons" for more information. In reality, though, any of these techniques, decorative additives, and methods can be combined to make a piece that is truly unique. Simply let your imagination soar.

Enamelist’s Studio

This section provides general studio information—safety, tools, materials, setup, and so forth. Other chapters go into more detail. Each section discussed below will direct you to the appropriate chapter. This information is compiled from scholarly texts and from the studio experience of the author and project artists who have kindly contributed to this book.

Although not all enamelists agree on most things, the good news is that some things all do agree on—these precautions will eliminate many problems before they occur:

Keep the work environment clean so that enamels do not get contaminated. Even specks of dirt, which burn out in the kiln, can leave unwanted pits in the enamel.

Properly prepare enamels and metal before enameling begins. Otherwise you take the chance of the enamel not fusing properly to the metal, or having other problems.

SAFETY AND PROTECTION

NOTE:

An acceptable lead level in an adult may be too high for a child. Also remember that lead poisoning in children can cause brain damage. If leaded enamels are used in a household with children, be especially careful to have good ventilation.

An enameling studio has fumes, dust, heat, chemicals, and other hazards. Here are some general rules to follow:

Don’t eat or drink in the enamel studio—dangerous chemicals may be ingested.

Don’t allow pets in the studio, as they can carry metal or enamel dust to other parts of the house.

Don’t allow small children in the studio unattended.

If leaded enamels are used, check with a doctor on what personal lead levels should be. Take a baseline lead test, and then another once a year to ensure that lead levels are not increasing.

When finished in the studio, be certain to wash well—enamel dust and fumes get on clothes, hair, face, arms, and so on. Always wash yourself thoroughly and wash enameling work clothes separately from the rest of the laundry.

Heat and hot objects are always a potential hazard. Be certain to have heatproof surfaces on which to place hot items, wear heat-resistant gloves when appropriate, wear natural fiber clothing, avoid looking too much into the heat/coils of the kiln, have a fire extinguisher handy, and keep a burn remedy in the studio.

Dust/Particle Mask

Enamels are fine particles and, whether leaded or unleaded, they should not be breathed in or ingested in any way. If using leaded enamels, be certain to purchase a mask that is OSHA rated for lead. See Photo 25. Also, particles can remain in the air for a while after sifting, so keep the mask on for an appropriate amount of time.

Eye Protection

Infrared and ultraviolet rays are emitted from a heated furnace. If one often gazes directly inside, cataracts, a hazard of many glassblowers, could develop. Be certain to wear eye protection (get safety glasses with welder’s shade #2 lenses, or calobar lenses, or go to auralens.net) and avoid looking too long. Eye protection is especially important when working with materials that may fly up and hit the eyes or face. A clear face shield is a protection from a variety of hazards.

Studio Layout

It is best to have a separate enameling area from living quarters so that dirt and dust can be contained. It is not a good idea to use the kitchen or bedroom for enameling. Also, you will need easy access to a sink with running water. I like my tools close, so I prefer a U-shaped layout where my jeweler’s bench is in the middle, on the right is my enameling bench with my enamels in easy access to that, and on the left is my soldering and firing bench, which has my venting system above it.

Venting System

Lusters and other applied materials are particles; oil-based painting enamels and soldering emit fumes; sifting raises dust. These substances should not be breathed in, as they are health hazards. Various types of venting systems are available. An easily obtainable one is an ordinary range hood, with an external exhaust vented through a furnace filter. Be certain that it vents an adequate CFM (cubic feet per minute) for the air space of the studio and that the hood captures the maximum amount of dust and fumes. See Photo 26.

Aloe

HOW TO HANDLE BURNS

Have a cold-water bucket at the firing table. Submerse burn immediately, which stops the cooking.

But when cold water does not do the trick, there is nothing better than aloe vera for burns. Aloe vera gel (98 percent aloe) comes in a tube or pump bottle. When burned, immediately cover the burned area generously with aloe vera gel, choking off air to the burn. Use some gel to cover some of the unburned skin around the burned area as well. In approximately 5 minutes, the pain should subside. Keep the gel on for several hours or overnight. In the morning there may not be a blister or any pain. The aloe may be covered with a bandage; however, keep it very loose. Of course the aloe plant can also be used, but the purchased gel is more convenient. See Photo 27. Alternatively, 2nd Skin Moist Burn Pads also work well.

If sifting is frequently done, it may be best to use a venting system that pulls fine particles from below the sifting area. It can be constructed with a perforated plate or screen placed below the work area and connected to a suction system. However, many enamelists use the wet-packing application and only sift infrequently. Thus these enamelists would not need this type of venting. Kat Cole uses her liquid enamel spray station, with rotating turntable and a venting system, to also sift.

Work Clothes

Use an apron and cap to cover and protect clothes and hair. Also, keep a set of clothes that is used only in the enameling studio. Different aprons may be needed for various activities, such as a heat-resistant apron for the kiln station and a plastic apron for water-related activities such as grinding. Wear cotton, as synthetics can melt. Don’t wear loose or flowing clothes around motorized equipment such as polishing wheels or a flex shaft, as the clothes could get caught.

KILN/FURNACE, TORCHES, AND SUPPORTS

Because enamel is glass fused at high temperatures, a heat source is necessary. The two main sources are a furnace/kiln and a torch. Most of the projects in this book are fired using the furnace method. Torch firing is taught in the project "Torch Fired Enameling. See the chapter Firing Enamels in a Kiln" for firing instructions.

Kiln/Furnace

Enamelists use what is called a furnace. Furnaces and kilns are the same equipment but differ in how they are used. A furnace is heated to temperature; the piece is inserted and fired, then removed while still at a firing temperature. In a kiln, the piece is inserted when the kiln is at room temperature; the kiln is then heated to firing temperature, and the piece remains in the kiln until both have cooled. The terms furnace and kiln may be used interchangeably in this book, but all refer to the definition of furnace.

Furnaces/kilns come in various sizes. Very small ones are called beehive or tabletop kilns. Others are full-size kilns, some small (with 5–6 cube chambers), some large (chambers big enough to hold large vessels), and some extra large for large format enameling like large wall pieces or outdoor art, and the piece has to be rolled into the kiln. See Photos 28, 29, and 30.

The size of the kiln’s inside chamber limits the size of the piece that can be made. As this is probably your most expensive studio equipment, buy one for future planning or know that you will have to upgrade. Jewelry can usually be done in a beehive or small full-size kiln. Sometimes larger pieces can be constructed by creating smaller pieces that fit together, so one need not have a really large kiln. See Photo 31. Also see the project Painting with Enamels—Traditional Limoges for more information on assembling smaller pieces to make larger artwork. If using a tabletop kiln, typically the firing will take much longer than in a small full-size kiln.

Beehive/tabletop kilns

Small full-size kiln

Extra-large kiln built by Howard Eisman

Full-size kilns should have a removable shelf that fits the bottom of the kiln, called a kiln shelf, and is used to ensure that the actual bottom of the kiln does not get messy. Without this, the fire brick on the bottom of the kiln must be periodically replaced, as too much spilled enamel on the floor will cause kiln furniture to stick in the kiln. As an alternative to a kiln shelf, I have seen ceramic tiles used—if these fit completely on the bottom of the kiln, don’t crack under the heat, and are inexpensive enough to replace, this is a fine solution. Another solution is using kiln paper, a material available through ceramic suppliers. Kiln paper has the advantage of not taking up any room in the kiln, which might be a consideration for some setups. However, kiln paper may have to be prepared before using, so read the instructions that come with it.

Carnival by Katharine S. Wood, who uses multiple tiles to create this 11 x 12 Champlevé

KILN SHELF PREPARATION

To make the kiln shelf easy to clean, cover it with kiln wash, a material used to coat items so that enamel does not stick to them (some enamelists use it on their trivets too). When the kiln shelf gets dirty, scrape off the kiln wash with a tool like a trowel (if any enamel got on the shelf itself, you can use an abrasive stone to grind it off—but try to keep the area flat), then reapply a new coat. Ceramic tiles need not be covered with kiln wash, as when they get dirty you just replace them.

TIP: I always have two kiln shelves in my studio—one is in the kiln being used and one is a standby with kiln wash already on it in case of an accident in the kiln where enamel spills on the shelf .

Kiln wash comes in powder form from an enamel, glass, or ceramics supplier. Simply mix a small amount of kiln wash powder with water until it is the consistency of cream. Use a wide paintbrush to apply, or pour on an even coat. Multiple coats are OK, but not too thick—apply until you can’t see the actual shelf. Dry completely.

CONSIDERATIONS FOR BUYING A KILN

Everyone has their own views on the features for buying a kiln, new or used. Here are mine:

Buy a kiln whose handle does not get hot while the kiln is on. This might seem like a no-brainer, but the first time I used someone else’s kiln in a class while giving a firing demo, I burned my hand and had to teach the class with an injury. It never occurred to me that the handle would be hot. Be aware of what you are buying.

The latch to hold the door closed and the handle to open the door should be one. If this is not true, then when firing you have to hold your piece and open the door and also unlatch the door (3 hands?) or you have to keep the door unlatched, which could mean you lose heat.

Buy a kiln with good insulation. When opening the door of a kiln, heat escapes, so it is important to keep the door closed as much as possible. However, kilns without good insulation lose heat more quickly and recover to temperature less quickly than those with better insulation. Also, a kiln with better insulation will take up a smaller footprint in your studio, as it can be closer to your wall. Ask about this when purchasing.

Buy a kiln that can take a kiln shelf or tiles.

All kilns need periodic repair, and that is why buying a used kiln might be OK. When buying any kiln, make sure you know where to get the spare parts. Also, make sure you have good technical support for the updates. Call the supplier or manufacturer to find out about their support. Here are things that can go wrong:

The coils burn out and need replacing. That’s why I buy a kiln in which the coils are not behind the walls of the kiln. If continued work is important, keep an extra set of coils in your studio so downtime is only to let the kiln cool and then coil replacement time (and, of course, getting the coils hot again).

The fire brick cracks and chips.

The electrical system shorts out.

Kilns usually have a pyrometer, which tells you the temperature, but these can usually only be set between low and high. Many do not come with a controller to keep the heat at a set temperature. It is more convenient to have a controller—one where you set the temperature and it controls the heat setting (like your kitchen oven). Without this, you have to monitor the setting and adjust as needed. A single-step controller is all you need for enameling or working with silver metal clay. If you want to use your equipment for other things like glass fusing or other metals of metal clay, you probably will want to get a multistep controller (programmable pyrometer that can ramp the temperature up and down at fixed intervals).

Torches

Instead of using a kiln, some enamelists prefer a torch. Steve Artz says he likes the fact that you can see the actual enameling process in front of your eyes instead of hidden behind the closed door of a kiln. He finds it enchanting to follow enamel through all stages, from the raw grains of glass sitting on the metal through the glossy maturity of molten enamel on the surface. He feels torch firing is more economical, is simple to do, fun and rewarding, but it does take practice to fire as you want. Sometimes the piece requires multiple torches like in Photo 32. Some enamelists have learned enough control to fire Cloisonné and Plique-à-jour with a torch. See Photo 33.

All this being said, Steve points out some limitations:

Metal size and thickness versus flame strength and coverage. For example, for 26 ga metal, probably 4 x 4 maximum, it’s hard to do without the help of a friend with a second torch or a tin can kiln (see sidebar "Tin Can Kiln for Torch Firing"). For smaller pieces you can go up to 20 ga metal, and even down to 42 ga metal.

Supporting the metal above the torch flame can be a challenge. Firing stands can be as simple as two fire bricks on end supporting a firing screen, to chemical stands with screen, or a custom, fully adjustable firing stand. See Photo 34.

Counter-enameling the underside can also be an issue. Firing a coat of hard enamel on the bottom side of your piece may work. Just remember that the torch flame comes in direct contact with the enamel on that side, and the temperature at the flame tip can range from 2600°F to 6500°F.

Multiple types of gas can be used for torch firing enamels. Steve Artz recommends these in order of best to least desirable: MAPP, acetylene, propane, and butane. These can be used in a variety of torches, and the Bernzomatic for MAPP gas, at your local hardware store, is the most economical. These each have a flame tip at different temperatures, but normally one uses about 1" into the flame or the middle to torch fire enamels.

Ikebana I by Joseph H. Spencer, who uses multiple torches for this 10 x 11 piece

Autumn Leaves by Pip Milton, who torch fires Plique-à-jour

A mask is recommended for torch firing

Custom torch setup with a fully adjustable firing stand developed by Steve Artz

See more about torch firing in the project "Torched Fired Enameling."

TIN CAN KILN FOR TORCH FIRING BY DEBORAH LOZIER

Middle Child by Deborah Lozier

One of the major challenges of torch firing enamel is containing and distributing the heat. Color quality suffers if the enamel takes too long to fuse. Maximizing the heat is essential. For small pieces, or those made of light gauge metal, distributing the heat efficiently is easier as long as there is a proper-sized flame along with lightweight stainless steel screen or trivets. For larger pieces or hollow forms, the heat distribution can be more challenging. There are two main reasons why your piece may not be gathering heat properly. The most obvious reason is simply that the heat rises up and away from the work. The second reason is an inefficient torch angle. Firing with two torches can compensate for both, but not always.

To help with containing the initial torch heat a simple solution is to create a temporary kiln by modifying a tin can. See Photo 35. Once the enamel reaches orange peel stage, the kiln can be lifted off and set aside so you have access to the entire piece, doing the rest of the firing directly with the torch. The key for color quality is getting to the orange peel stage sooner rather than later.

Steps for Making and Using the Tin Can Kiln

Cut out a small viewing window, with aviator shears, so you can see things progress.

Create a handle with binding wire so it can be easily removed with a pair of self-locking tweezers.

Place the piece to be fired on top of a lightweight stainless screen resting on a tripod or ring stand. Place the tin can over your piece and onto the screen.

Start the initial torch heat from underneath. This should be either a bare area of metal or a previously fired layer of enamel.

Furnace duct parts can also be modified as temporary kilns for larger pieces.

Tin can kiln

The second issue for heat transfer is getting a proper angle of the torch flame onto your piece. Torch firing is very similar to silver soldering. Perpendicular to the surface of the metal is the most efficient flame placement. If a trivet is needed to prevent the enamel from sticking, this can be difficult to achieve. Here I modify a tin can to use as a trivet lift. See Photo 36. I cut 3 rounded sections away with aviator shears while leaving the 3 areas in between at the rim of the can for the trivet to rest on. The scooped-away sections allow the flame to get underneath and around the work while firing. Place the whole setup on an annealing pan so it can be rotated, and heating is even more efficient. Larger pieces require 2 torches or the addition of the temporary kiln—sometimes both! But this takes some practice in torch coordination. Use an assistant in the beginning if you are going to try this.

Safety Notes

Most food cans are lined with plastic, which must be burned away before using it for enameling purposes. Do this with a torch in a well-ventilated area.

Creating smooth cuts with aviator shears takes practice. Jagged edges can happen and will easily cut your skin.

I wear Aura lens (AUR-99) safety glasses, leather gloves, an apron, and closed-toed shoes along with using good ventilation to protect myself during torch firing.

Firing Equipment and Supports

All vitreous enameling requires, in addition to the heat source, some kind of a support to hold the piece while firing and tools to move and rest the piece while it’s hot. Unless a torch is used, this can be grouped under the term of kiln furniture. There is a wide variety of supports, as described below.

Firing Supports

When placing a piece in the kiln, the enameled area needs to be protected from sticking to the wrong surface. To do this, suspend the piece by its edges, using a trivet, so that it is stable, unless by doing so the weight of the piece will cause it to sag. If the piece is prone to sag, support it from underneath with as little surface area of the support touching the piece as possible (use two sawtooth trivets set on a firing mesh or a point rack trivet, also called a planche or a bed of nails).

Many types of firing supports