Painting Enamels

There are a couple different styles of painting enamels. There are liquid enamels, watercolor enamels, and ceramic painting enamels.

The chief difference between the enamels we have been using and these enamels is the fineness of the powder. The paint enamels are ground much finer so that you can achieve a much finer line/shading.

To use:

• Spoon a little enamel powder onto a palette or dish.
• Mix in water (watercolor) or oil (ceramic) to achieve desired thickness and opacity.
• The more liquid added the thinner the color will be. For watercolor enamels, thinner colors are more translucent.
• Paint piece with agar.
• Using brushes, paint on the colors.
• Let the colors dry before firing. 
• When using the ceramic pigments, move your piece in and out of the kiln several times before placing in and firing fully. This exposure to heat dries out the oil.
• Paint one layer at a time.

Tips:

• Fire a background layer before using the paints.
• For watercolor enamels, a light background color is best.
• Work in layers. Build up levels and layers of colors. This adds richness to the piece.
• Face masks are a must- this powder is even finer than the others!
• This technique can be used on top of other techniques.
• You can fire a clear top layer over the paints at the end if desired.

Additives: Threads and Frit

 Glass threads, buttons, beads and frit: 

• Another way to get pattern is by using glass buttons and threads on top of your enamel. 
• Apply Klyr-Fire, then place the glass threads on top, and fire. 
• If you work with fused glass, you can also use some of the glass frit from that as well. 
• Buttons, threads, and frit have a higher flow temperature than the enamel, so they will be raised after firing. You can stone these down if you wish.
• Glass beads can also be fired in the same way. Seed beads in particular work well. 

Firing gemstones into enamel:

• Firing stones tends to change the color or crack the stones unless they are good quality, clean stoens that can withstand the temperature needed to fired enamels. Stones marked as cast-in-place are good stones to use. 
• The cracking and color change can give interesting results. Crushing cheaper stones or rough cut stones can get a great textured surface in the enamel.  
• Have a base layer fired. Klyr-Fire your piece and place or sprinkle stones over the surface. Fire. When the enamel gets to firing temp, the stones will sink slightly down into the surface which holds them in place once the piece cools. 
• In addition you can wet pack or sift extra enamel over the stones to further secure them. 
• Make sure to keep an eye on the thickness of the enamel- too thick can yield cracks and flaking.

Additives: Lusters and Foils

Foils

• We have silver foil that can be fired between layers of transparent enamel to create sparkle under the enamel. This is commonly used in cloisonné work. 
• Cut the foil with scissors, and apply with Klyr-Fire to enameled surface. 
• Either sift or pack enamel on top of foil, then fire.

Lusters

• The luster powders give an iridescent sheen to the enamel.
• Mix the powder with water to form a paint. 
• Apply Klyr-Fire, let it dry, then paint the luster on over a fired enamel surface. 
• Let dry and fire. 
• Seal the luster by firing a clear coat on top.

Project 2

Project 2: Line and Color
For this project, select one of the artists listed below (or one of your choosing). Investigate their work and their use of color. How is color used in relation to line? Is there line? How are different surfaces used? Using what you have observed, create designs for two pieces. The pieces can be related or separate. Use the artist as inspiration for subject matter or abstraction.

You must use at least two of the following techniques: wet pack patterning, diamond bur patterning, stencils, dragging, rubber stamps, lusters, foils, threads, frit, or painting enamels.

Create 10 color drawings of designs. Do 2 different color schemes for your top 3 designs. How does the color scheme change the final look of the design?

Drawings are due October 15.
Finished piece is due beginning of class November 19.


Artists: Klimt, Van Gogh, Fairey, Haring, Diebenkorn, O'Keeffe, Frankenthaler, Kandinsky, Lichtenstein, Miro, Malevich, Pollock, Bally, Westmark

Patterns: Dragging, and Stencils

Dragging: 

·         Using a spatula or thin hard tool, drag through wet pack enamel, creating a path. Dragging is commonly done over a fired base color, so that when you fire after dragging, you have the pattern over a color.

Stencils:

• You can purchase pre-made stencils, but it is also easy to make your own! For simple one-time use stencils, you can use manila or index cards. For longer use stencils, I recommend a thin plastic or metal. 
• Simply cut your design out of the stencil material. Make sure that the edges of the stencil are a good inch or so from your design. This helps to keep the enamel plate clean. 
• Place your stencil over your plate- have a base color fired already.
• Paint a layer of Klyr-Fire.
• Dry sift the color you want the design to be over your stencil. 
• Lift the stencil carefully off of the plate.
• Fire.

Rubber Stamps:

• You can also use rubber stamps in a similar way to stencils. Have a base coat of color fired already.
• Paint a layer of Klyr-Fire on the area of the rubber stamp you want to use.
• Press the stamp onto the piece, transferring the Klyr-Fire to the piece in the pattern of the stamp.
• Sift a color over the piece and gently blow or brush away excess. This should leave enamel only in the pattern of the stamp. 
• You can do additional clean-up with a clean brush. 
• Fire.

Patterns: Wet Packing and Burs

Wet pack pattern

• Using your brush, wet pack colors next to each other in a pattern.
• Make sure that the colors are right up against each other for the smoothest surface.
• Wick away excess water between packing each color.
• Laying out a pattern on paper first can be very useful. You can also use your scribe to scratch the layout onto the metal. Make sure to clean the metal after handling!

With the flexshaft

• For very crisp patterns, use the diamond coated burs to grind away enamel in the pattern that you want.
• Wet pack the enamel into the areas that you ground out.
• Fire.
• Stone smooth to remove any excess enamel and bring out the clean edges.
• This is best suited for linear patterns and dots.
• Make sure to always use only diamond coated burs on enamel, and the burs must be used wet! 
• You can also use diamond files to file grooves for linear elements.  

Surfaces: Under/Over Firing and Etching

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Underfired Surfaces:
Orange Peel
Sugar Coat

Overfired Surfaces:
Glossy with color changes dependent on enamel color.

     By varying your firing times you can get different surfaces such as sugar, orange peel, and the normal glossy. You can also intentionally overfire your piece for interesting results. 
     The enamels fire anywhere from 1450-1525 degrees. Some of the enamels fire at the low end of that range, others at the high end. The 1685 cobalt blue opaque is on the high end, 1515 baby blue opaque is in the middle, and 1995 black is on the low end. 
      If you layer a higher temp enamel like 1685 on top of a lower temp enamel, and leave the enamel in a bit longer than usual, the lower temp enamel color will start to bleed through the top layer creating a crackled or mottled effect. 
     A lot of the colors will turn black along the edges when over fired. White turns a beautiful green-blue. The Jungle green (1360) turns a very dark navy, other colors can get speckles. Refer to the firing chart for flow temperatures by color number.


Surfaces achieved through firing-

• Glossy: Fire fully. Stone in between firings for smoothest surface.
• Orange Peel: Pull piece from kiln before fully fired. You cannot fire or work with the surface again and still keep the orange peel texture. Best for solid or 2 colors. Dry sift for the best result.
• Sugar: Pull piece from kiln when the surface looks like sugar crystals. The enamel will have bonded with the metal underneath, but not smoothed out on the top. This is a very delicate surface to achieve as the enamel passes through this window of firing time swiftly. For smoother results, fire a coat to glossy first, then fire a sugar coat on top. You cannot work with the surface after sugar firing. Best for solid colors. This surface is unsuitable for areas of contact or heavy wear, as the powder can become loose and flake off over time.

Etching:

• You can make the surface of your enamel matte by applying Etch-All to it. Etch-All comes as a liquid and as a cream. 
• The liquid is excellent for etching the entire piece or removing enamel from a piece. 
• To remove enamel from a piece without hurting the metal, leave it in Etch-All for a couple days. The etch will eat the enamel and not affect the metal. 
• The Etch-All creme can be applied to specific areas to create a glossy/matte surface contrast. Apply with a fine brush or Q-Tip. 
• Leave the piece in the etch (liquid or cream) for about 15 minutes for a nice matte surface. 
• If using the cream, scrape excess back into the container. 
• Rinse, scrub with a toothbrush and dry. 

Some enamels are acid-sensitive. Test out any colors before committing your piece to the etch!!

 

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Torch Firing

-->Torch firing: 

• Sift or pack enamel as usual, let the piece dry. 
• Heat the piece with a torch instead of the kiln. 
• Heat slowly and evenly- keep your flame in motion all over the piece. The firing process takes longer with the torch, so be patient. 
• Since the torch heats unevenly, this technique creates unusual effects- iridescence in the enamel, black rims around the edges. 

• Torch-firing is an unpredictable method, and is best suited for pieces that do not need to be identical. 
• By putting the flame on the enamel, you can achieve and iridescent effect and some enamel colors will change color as well. 
• Several of the opaque reds develop a navy blue skin over them. 
• If you don’t want iridescence, torch from underneath. 
• Always have your piece on either a firing rack or a trivet, as the soldering board will stick to the enamel and leave residue.

Project 1

Project 1: Opposites
For this project create a piece around enamel that portrays opposites. You can interpret this literally or abstract. Consider dictionary definitions of opposite as well as synonyms. What do you think of when you hear opposite? Consider light/dark, good/evil, pro/anti, front/back, in/out, over/under to name a few.
Think about the enamel as the piece itself rather than as something that need to be set. Your piece can be flat or three dimensional.

Use at least one of the following techniques:
Dry sifting, Wet packing, Torch firing, Sugar coat, Orange peel, or Etched surfaces.

10 color design of opposites due September 17.
Final project is due beginning of class October 15.

Enamelling on Three Dimensional Surfaces

For the most part, enamelling on 3D, formed, or domed surfaces is like enamelling flat. You follow all of the same steps- clean the metal, agar, put on the enamel fire, clean, etc.

A couple of things are trickier with curves however…

Enamelling on the convex surface:

• When enamelling on the convex side, make sure that your enamel layers are as even as you can make them. Enamelling on the outside of the curve creates more stress on the enamel, making uneven surfaces prone to cracking during cooling.
• If sifting- make sure that you are get a good coat on the entire surface. It’s very easy to get a nice coat on the top and sparse on the sides. Hold the piece on a couple fingers and sift with your other hand to help get an even coat.
• Wet packing the enamel is usually easier than sifting with formed surfaces.
• To smooth the convex surface after firing, use the alundum stones or the diamond pad files.

Enamelling on the concave side:

• When enamelling on the concave side of a form, you can sometimes skip the counter enamel. Because of the way the tension works, the form is curving with the tension of the enamel. If you aren’t putting many layers of color on, you do not need to counter enamel.  Wet packing is certainly the preferred method for applying the enamel. Make sure to wick away the excess water while packing to insure that your enamel doesn't slide to the bottom.
• When firing, be extra careful not to over fire, as gravity does take effect if the enamel is left in the kiln long enough, and it will pull away from the higher areas into the lower ones.
• To smooth out the enamel- you can use the alundum stones as they take the shape of what you are stoning with them- you will notice that a couple of them have rounded ends. Also use the diamond burs in the flexshaft. It will take some practice to control them.

It is very important on formed surfaces to have a good coat of KlyrFire. Depending on the form, you may not need to use a trivet when firing, or you may need to customize a rivet to suspend your piece. Make sure to clean the edges of the form for a more professional look.

Color Chart Links:

Thompson Unleaded Opaque

Thompson Unleaded Transparent

Japanese Transparent

Japanese Opaque

Schauer Transparent

Schauer Opaque

Suppliers

List of Suppliers

Rio Grande

www.riogrande.com

Enamel Emporium

1221 Campbell Road

Houston, Texas 77055

www.enamelemporium.com

Enamelwork Supply Co.
1022 NE 68th
Seattle, WA  98115
(800) 596-3257  (206) 525-9271

www.enamelworksupply.com

Allcraft
45W.46thSt. 3rdFloor
NewYork,NY 10036
(800) 645-7124  (718) 789-2800

Metalliferous,Inc.
34W.46thSt.,2ndFloor
NewYork,NY 10036
(212) 944-0909  fax:  (212) 944-0644

www.metalliferous.com

Schlaifer's Enameling Supplies
1441HuntingtonDr. PMB1700
SouthPasadena,CA 91030
(800)525-5959

www.enameling.com

Thompson Enamel, Inc.
650ColfaxAve
Bellevue,KY 41073
(859)291-3800

www.thompsonenamel.com

E-namels
http://www.e-namels.com/

Local suppliers

Terra Firma Enterprises, Inc.
1316-B Reisterstown Road
Pikesville, Maryland 21208
Phone (410) 602-2232
Fax (410) 602-8089

Surfaces: Stoning and Sanding

Surfaces: Stoning and Sanding

To smooth the surface after and between firings:

• Use either the alundum stones or diamond pad files under running water.
• Grind down the high points.
• If there is an appreciable difference between the high and low areas, you may want to pack the low areas with more enamel and refire.
• If the piece is relatively flat, stone until the entire surface is matte.

To make the surface glossy again:

• Refire

To keep the surface matte:

• Go through the diamond pad files (just like sandpaper) to the grit you want.

The alundum stones and diamond pad files can also be used to remove any stray bits of enamel that fire to the clean metal surface while counter enamelling and they clean the edges up nicely as well. 

Alundum stones are 150 or 220 grit.

3M Diamond pad files are: 80, 150, 220, and 400 grit.

3M also has Diamond Hand pads which come in the same grit and are similar to sanding blocks.

Firing Temperature Charts- Thompson's

Basics: Washing and Wet Packing Enamels

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Washing enamels

In order to get the most vivid and clear colors from the enamels, it is best to wash them prior to use. Washing removes any dust that may have gotten into the container, and for transparent colors, removes smaller particles that can cause cloudiness. Washing is very important for transparent colors, less so for opaques, and not recommended for opalescents. For time’s sake, I recommend washing several colors at once.

• With face mask ON, scoop a spoonful of enamel into one of the small containers.
• Label both lid and container with color number!
• At the sink, run water into the container, soaking the enamel. Do not overflow the container.
• Tap the container against the counter top.
• You will see a line develop along the side of the container- clean enamel below, cloudy water above.
• Hold the container almost sideways and rotate between your fingers. This causes the cloudy water to pour out, leaving behind the heavier enamel.
• Pour into the receptacle in the sink! Since the enamel is heavier than water, pouring directly down the drain will cause a clog.
• For opalescent (OPL) enamels: Do this once. What gives enamels the opalescent quality is the different sizes of enamel particles. Washing removes them.
• For opaque (O) enamels: Do this 1-3 times.
• For transparent (T) enamels: Do this repeatedly until the water is clear. This can be 3-10 times.
• Once you have washed your enamels, they are washed. You do not need to do this each time you use them. Make sure to seal the container after use so that dirt doesn’t get into it.

Once your enamels are washed, you can use them to wet pack. If you want to use them for dry sifting, place container on firing rack, and place on top of kiln. Let enamel dry (usually 1-2 hrs.). If the washed enamels have dried and you want them wet, add water, tap, and pour off excess.

Wet packing

Wet packing is best for patterns, concave areas, any time you want more control over where particles are placed.

Wash your enamels.

• Brush a good coat of gum agar onto the metal where you want the enamel to be. Make sure to get the edges.
• Using your brushes or spatulas, scoop up some of the enamel and place where you want on your piece.
• Rinse out your brush after each color.
• To even out the wet packed layer, hold you piece by the edges and tap side with your brush. You will see the water pulled to the surface and the layer even itself out.
• When packing multiple colors, hold your paper towel to the edge of your piece to wick away excess water. This helps keep your colors from bleeding into each other.
• To clean up the edges of your packed areas, clean your brush and dry it. Sweep along the edges, collecting the stray particles on your brush. Wash out your brush, and repeat if necessary.
• Make sure not to pack the layer too thick (more than 1-1.5mm) otherwise it can crack.
• After applying all the colors for this layer, wick away the excess water.
• Place on trivet, place trivet on top of firing rack.
• Put on top of kiln to dry (5-10min)
• Fire piece.

Basics: Firing Enamels

Firing Enamels

• Slide firing fork under firing rack and lift off the top of the kiln.
• Open door to kiln.
• Place firing rack on bottom of kiln, and slide fork out from underneath.
• Push door closed.
• Watch temperature on kiln front. When the temperatures reaches around 1500, open door slightly and peek.
• If the piece shows a smooth glassy surface, you are done!
• If not, close door and leave piece in for another minute or 2. Each enamel is a little different. You’ll develop a feel for the timing on this as the class continues.
• When piece is done, pick up firing fork.
• Open door.
• Slide firing fork under firing rack and pull out firing rack.
• Place firing rack on steel cooling plate, and slide fork from underneath.
• Wait. Pieces generally take 10-15 minutes to cool. 

Basics: Dry Sifting Enamels

Dry Sifting

Dry sifting is excellent when enamelling areas (flat or convex) that you covered with the same color. It is also an excellent way to get a base color down and to create the effect of colors blending.

• Cover enamelling area with slick pages from magazines.
• Wipe out sifter with a damp paper towel.
• Dry the sifter with a dry paper towel. – This prevents any residual enamel particles from the previous use from muddying your chosen color.
• Brush a good coat of gum agar onto the metal where you want the enamel to be. Make sure to get the edges.
• While agar is still wet, scoop a spoonful of dry powder enamel into the sifter.
• Lift sifter over piece and tap side gently with your finger- just like confectioners sugar!
• Coat the entire piece evenly! Make sure you don’t skimp n the edges!
• The piece should have a coating approx. 1mm thick.
• Gently lift piece by the edges and place on trivet, place trivet on firing rack.
• Place firing rack on top of kiln so that the agar and enamel can dry.
• Drying usually takes 3-10 minutes.
• Fire piece.
• Make sure that you wash and thoroughly dry the sifters each time you use them.
• Use a new sheet of magazine for EVERY color! Pour any powder on the sheet into the counter enamel container.

How to use the PMC (Blue) Kiln

Setting the Kiln:
• Flip the switch to on. After beeping stops the display should read IDLE
o If it does not press Start/Stop until it does.
• Press Start/Stop
• The display should read PROG (the G looks a lot like a 6)
o If not scroll with the up and down arrows until it does. (The other readings you may see are prg1, pro2, etc. up to pro5)
• Press Start/Stop
• The display should flash ra1 and FULL
o If it does not display FULL scroll up with the arrow until it does
• Press Start/Stop
• The display should flash ◦F and 1535
o If not scroll with the arrows until it reads 1535
• Press Start/Stop
• The display should flash hld1 and 4.00
o Hld1 is how long the kiln will keep the temperature at 1535F. Since the actual firing of the enamels only takes a couple minutes, the setting should be 3-4 hours (3.00-4.00 on the display) so that it remains on the entire class.
o If it does not display a number between 3.00 and 4.00 use the arrows to scroll into that range.
• Press Start/Stop
• The display should flash ra2 and 0000
• Press Start/Stop
• The Display should read STRT
• Press Start/Stop
And the kiln is heating up! This is much easier than it looks on paper!!

Turning off the kiln:
• Press Start/Stop
• The display should read IDLE
• Flip switch to OFF.

IMPORTANT-If you are the last person enamelling, please turn the kiln off as instructed above.

Enamelling Basics

Enamelling Basics:

Enamels work best on pure metals- copper, silver (92.5% sterling, 99.9% fine), 18k-24k golds. You can enamel on 14k golds and sterling, but it is more time-consuming. Brass is an alloy of copper and zinc, making it unsuitable for enamelling.

The layer of glass causes tension on the surface of the metal, and will either cause the metal to bend, or the enamel to crack if the tension is not similar on both sides.

The metal will bend towards the enamel. This can be fixed by counter-enamelling your piece. Counter enamel refers to a coating of enamel (usually a single color) on the back side of the piece that evens out the tension.

Enamels don’t mix like paint- all you will end up with is speckled colors.

You can place colors NEXT to each other in a flat layer. If you want to layer colors on top of each other, you must fire the piece between each layer of color. 

Make sure to keep each jar and container separate and don’t mix the powder between jars! Use extra caution when dealing with the white and clear enamel powder as they look identical!

Always wash your transparents- even for dry sifting. This gives them the clearest and truest color.

Label your test strips. If you want to work in both silver and copper- make certain to test the opalescents and transparents on silver also. They look very different! Also for copper, test over the metal as well as over a coat of white. Also very different looking!

Preparing your metal

• Cut your metal to desired shape.
• Clean metal under running water with soap, comet, and scotchbrite to remove all oils, dirt, and grease.
• The water should sheet off the piece, not bead up. If it is beading, clean more. A cheap toothbrush is great for getting into hard to reach places.
• Dry metal.
• Handle metal in paper towel or by edges so you don’t get skin oils on the metal.
• Always make sure that your work area and your tools are clean.
• Put on face mask! (and gloves if needed)

Enamel Safety, Kiln Safety and Instructions

Enamel Safety
     Vitreous enamels are ground glass particles. Chemicals are used in the creation of the glass to give them color, most enamels contain some heavy metals. These substances can build up over time in your system, increasing the risk of some health issues. To prevent any health issues, use common sense and follow the following:
• ALWAYS wear your face mask around the enamels. This includes when you are using the flex shaft with enamels.
     o Why? Without the mask, you can inhale the particles. This allows the chemicals to get into your blood stream.
• ALWAYS wash your hand thoroughly before and after enamelling. Also wash your hands if you are working on other projects while enamelling.
     o Why? Washing your hands before and after each enamelling session will prevent the particles from traveling to your work area. Washing after working on other projects prevents contamination of the enamels with filings or other dust.
• ALWAYS seal any cuts or punctures with liquid bandage or a Band-Aid, and wear latex gloves when handling the powder until the cut has healed.
     o Why? To prevent the particles from getting in your cut.
• NEVER eat or drink where you are enamelling.
     o Why? To keep the particles from entering your body. Make sure to keep all food and beverages on the center table, and wash your hands before and after consuming them. (This is a good practice for all areas of jewelry- you don’t really want polishing compound, filings or any of that other stuff in you either!)

Kiln Safety and Instructions:

• Turn kiln on to High.
• These kilns are not computer controlled- they will not stop at a specific temperature.
• DO NOT leave the kilns unattended.
• When the kiln gets to 1400, turn the knob to Low.
• Even on Low, keep an eye on the temperature of the kiln. Do NOT leave the kiln unattended.
• The kiln has exposed heating coils on the interior. Make sure that the firing fork does not touch the exposed coils. It will short out the kiln.
• When you are finished enamelling or you need to leave the enamel area, turn the kiln off.
• The sides and top of the kiln will be hot. Make sure that all flammable or meltable materials are removed from the top and away from the sides of the kiln prior to turning on.

Policies

Class Policies

Attendance

·         Attendance is very important. We cover a lot of material and you need to make the most out of your class time. Demonstrations will generally be held at the beginning of class, so please be on time.

·         If you miss class, it is your responsibility to get the information you missed- talk to classmates, check the blog, looks at the printed handouts in the class folder.

·         If you need to miss a class, please let me know in advance or as soon as you know.

·         There will be time designated to work in class, so make sure to come prepared. However, do not expect to complete all your work during class time. Plan to rent some bench time or use your home studio space outside of class time.

Studio Access

·         The studio may be used during class time. To use the studio outside of class time, you must purchase a rental package, or pay by the hour. Having work time outside of class will allow your work to grow more and for you to be more comfortable in your work habits and the studio.

Studio and Work Safety

·         Make sure to always follow the printed safety information and your instructor’s instructions for working in the studio and safety apparel/procedures. Safety glasses, dust masks, and gloves are the most common pieces of safety equipment- make sure you have them! Earplugs and an apron are also recommended.

·         If you have not been shown how to operate a piece of equipment by an instructor or technician, don’t use it!

·         You must wear closed toed shoes- no plastic shoes or Crocs. Any long hair, loose or dangling clothing or accessories must be tied back, secured, or removed. Natural fiber clothing is highly recommended.

·         Be smart- don’t work when sick, on medication, or tired.

·         Be respectful of other students and share the communal tools- take turns!

·         Clean your area thoroughly before leaving, and make sure you clean and return all the tools and equipment you were using. Sweep/wipe down your desk, check the drawers and trays, and check the flexshafts for stray bits before turning in your tag.

Grading

Courses may be taken for a grade or for audit. 

Grades are based on the following criteria:

·         Creativity and Aesthetics: Your ideas are well thought through, interesting, and reflect your artistic viewpoint and eye. Your projects are cohesive and convey your idea and concept well. You use the design prompts in interesting and new ways, exploring fresh visual ground for yourself and continuing your growth.

·         Technical Proficiency: Your projects show a dedication to craftsmanship and working at the highest technical level you are able. Your materials are appropriate and in keeping with your ideas and the course. You show understanding and skill in the techniques we learn over the semester.

·         Attendance, Participation and Effort: You are expected to be prompt to class, and in regular attendance. You are also expected to participate in class discussions and critiques throughout the semester and be able to talk about your ideas and work. You will need to keep a sketchbook/documentation  of your ideas, projects and samples. You will need all projects for the final critique. I expect strong and consistent work ethic throughout the semester. 

Supply List

Supply List

General Supplies:

General Jewelry tools

Permanent markers fine & thick

Scotchbrite pad

Drawing instruments

Sketchbook

Wet/dry sandpapers (not cloth backed)

Metal ruler

Tracing paper

Enamelling supplies:

Alundum stone or Diamond Pad Files

Decent quality paint brushes- 3, 1, 0, 00

Cheap white disposable paper or old magazine

Metal for projects

Dust mask (respirator optional)

IT solder (optional- required if you are soldering your enamel pieces)

Plastic spoons

Small jars or cups- with lids!

Tweezers - recommend watchmaker tweezers, with sharp points

A roll of good quality paper towels or old linen pillowcase

Thin painting spatula- offset and flexible!

Optional Supplies

Atomizer or sprayer - optional

Set of packing tools - optional

Set of sifters - optional

Tinted soldering goggles

Glass beads or frit 

Rubber Stamps

Syllabus and Schedule

Experimental Enamelling

Fall 2014     Baltimore Jewelry Center

Jenn Parnell, instructor

Class information:

Wednesdays 1pm- 4:30pm

September 3- November 19

Office Hours: by appointment, also most Wednesdays 4:30pm-6:30pm

Class blog: http://experimental-enamel.blogspot.com/

Class Description:            

Vitreous enamels are a versatile and exciting way to add color to metal work. The class will examine how contemporary artists are pushing the boundaries of the material and incorporating enamel into their work, giving students a grounded place to start their own experiments. Students will learn to use enamel with three dimensional forms and wire as well as sheet. Topics covered include: sugar coat and orange peel surfaces, etched enamel, torch firing, use of lusters, threads and frit, painting enamels, pattern creation, and stencils. No prior enamelling experience is required. Students should have a slid grasp of basic metalworking skills including soldering. Pre-requisite: Intro to Jewelry + Metals or equivalent experience.

Class Schedule

Week 1: Sept 3

·         Discussion: Enamelling basics, safety, kiln operation 

·         Lesson: Basic Firing, Dry Sifting, Wet Packing

·         Lesson: Surfaces- Stoning, Sanding

·         In Class: Begin test strips

·         Homework: Work on 6 test strips- 3 transparent, 3 opaque. Make sure all supplies necessary are ordered.

Week 2 Sept 10

·         Lesson: Enamelling on 3D surfaces

·         Introduce Project 1

·         In Class: Finish test strips, design for Project 1

·         Homework: Designs (in color!) for Project 1

Week 3: Sept 17

·         Lesson: Torch Firing

·         In Class: Discuss designs for project, test colors for project, sample torch firing

·         Homework: Complete testing colors for project and begin work on project.

Week 4: Sept 24     

·         Lesson: Surfaces- Over fire, under fire, Etching

·         In Class: Sample sugar coat, orange peel, and etched surface, work on project

·         Homework: Complete surface samples, work on project

Week 5: Oct 1     

·         Lesson: Patterns- Wet Packing, Burs

·         In Class: Pattern sample, work on project

·         Homework: Work on project, finish pattern sample

Week 6: Oct 8

·         Lesson: Patterns- Stencils, Dragging

·         Introduce Project 2

·         In Class: Stencil sample, work on project

·         Homework: Complete Project 1, designs for project 2, finish stencil sample

Week 7: Oct 15

·         In Class: Project 1 Group Critique

·         Lesson: Additives-  Lusters and Foils

·         In Class: Discuss designs for Project 2

·         Homework: Test any colors needed for project 2 and begin work on project

Week 8: Oct 22

·         Lesson: Additives- Threads and Frit

·         In Class: 2 samples of additives, work on project

·         Homework: Finish additive samples, work on project

Week 9: Oct 29

·         Lesson: Painting Enamels

·         In Class: Work on project, painting enamel sample

·         Homework: Work on project and samples

Week 10: Nov 5

·         In Class: Work time all class, work on project and any samples

·         Homework: Work on project and samples

Week 11: Nov 12

·         In Class: Work time all class, work on project!

·         Homework: Finish final project and any outstanding samples

                  

Week 12 Nov 19

·         In Class: Individual Final Critiques