My latest improvisations in enamel were successful. I fired pale trans parents onto bare fire scaled copper and got some great effects. I fired them to 1500 degrees F. About 3 minutes total firing time.
I’ll be making more of these and trying some new colors as well.
Today, I refined my technique is the first firing of clear enamel over copper. This is a cool part of making lots of switch plates. The repetition shows me quickly what works and what doesn’t.
Yesterday, after firing counterenamel on the backs, I started the first high firing of transparent flux using the same kiln temperature. To my surprise, the result was a bit cloudy.
I got the clearest, brightest results when I fired pieces up to 1500 degrees and then held for 30 seconds.
After removing the plate from the kiln, I flatten it with a antique iron. This step is necessary because the glass warps the copper.
The next step for these pieces is adding an open color! It’s going to be fun 😊
For most enamel work, glass must be fired onto both the front and back. This balances the expansion coefficients of the glass and metal. Tension between the two materials always exists in finished enamels.
Counterenamel is often functional, not aesthetic, especially where it won’t be seen.
As you can see above, I have been working with different approaches to Counterenamel. I have 5 pounds of discontinued Thompson LF 500 Counterenamel, but it likes to flake off after the second or third firing. I. That case, I have to fire another coat of different Counterenamel.
I found the solution to the LF 500 problem. I set the kiln at 1700 degrees fahrenheit and fired the Counterenamel first. Once cool, I cleaned the oxides off the front in sodium bisulfite pickle solution and proceeded to complete my design.
In some cases, I use oxide patterns in the final design, but the LF500 does its job regardless. I’m looking forward to using this vintage enamel for many future artworks!
My latest adventure in copper enameling, sgraffito light switch covers. I begin with a layer of clear and the follow with a layer of opaque color. I incise away the top color to reveal the luminous clear underneath.
Here is the opaque color before firing:
To make these rings, I start out with copper pipe. I cut out cross-sections and formed the pipe to shape, convex or concave. I stamp designs into some of them.
Now that most of my new pattern rollers fit my Cavallin mill, I have spent a few days on wrap rings. It’s a good thing, too, since I was almost out of them. I am very happy with the results!
After hand-cranking plain wire through the rollers, I cut and formed the rings into shape. Here, you see a pile of spirals on my anvil… These are so much fun to make.
After forming, I add the dark, antique patina. It adds a nice depth to the embossed designs.
These rings are adjustable and pretty. Right now, I’m making them in sterling silver and copper. I’m pleased to be able to finish these rings in time for Art on the Green in Hudson, Ohio coming up tomorrow! If you come by and see them at the show, I can size them for you on the spot.
I’ve been wanting these for so many years. I special ordered them from FiveFoxes to fit my old Cavallin rolling mill.
After all the measuring, planning, and agonizing, the new pattern rollers arrived in the mail. Much faster than I expected and in perfect condition. I was ready to roll, or so I thought. Most of them were too small to fit on my mill! Luckily, I know a little bit about metal working. I resolved to modify them to fit.
The measurements were all correct, even a bit larger than I ordered. That meant all they needed was just a fraction of a hair’s breadth removed with some abrasive, and I would be embossing wire with beautiful patterns.
My humble Foredom saved the day. After diligent and tedious sanding, I was able to use the rollers. I can’t wait to make some new rings!
Plique a jour is an ancient technique where glass is suspended within a metal frame. For me, the technique is perfect for earrings. The pair I made above are like little stained glass windows of pure silver. Here is how I made them…
I started out with pure silver sheet and pierced out the designs that will be filled with glass.
I filled the pierced spaces with powdered glass enamels and placed the earrings on steel supports called trivets.
Here is how the earrings looked after the first firing. The glass usually doesn’t fill completely the first firing. It takes several firings to completely fill the piercings with glass.
After the piercings were completely filled with glass, I sanded them flush with the sheet metal and refined the outside shapes.
Here’s how they looked after sanding.
The earrings got one more firing to give the glass a final polish. After this step, I burnished the earrings with a glass brush. I made 10k gold posts and heat rivets to suspend the plique a jour designs.
This year, I decided to set aside some time to work in cloisonne enamel. I documented my journey with photographs as I balanced the technical demands of the medium with my natural inclination to experiment. I didn’t start out with a sketch or a drawing, but I did know I wanted to create a floral design. Here’s how it went:
I’ve been working up to this for years, and it’s finally come together. I’ve designed a pop-up booth for exhibiting my work at art fairs. The first voyage and installation was to the Chautauqua Institution in western New York for the Fine Crafts Shows at Chautauqua. The weather was beautiful and sunny, which was a blessing.
I have plenty of tweaks to make to my setup, but the overall idea was well-received. People came up to shop with me and sales were good. I’m now working on adding an awning because the weather won’t always be so perfect.
I sold quite a few pieces at the show, but I still have these earrings. Asymmetrical designs like these are my new direction and I had fun talking to people about wearing different earrings together. In fact, several people mixed and matched their own earring pairs. That was unexpected, but I loved it. I’m so grateful to everyone at Chautauqua who attended the show. I’m also grateful to Crafts Alliance for organizing the event and including my work.
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