Cloisonné enamelling, designed and created by Angela Haynes IN LOVE WITH ENAMELLING There are so many different enamelling techniques that approaching the whole subject can seem a little mind-boggling at times. However, we hope our guide to the different types, helps you to find the technique that’s right for you.

Cold enamel Engraving And Enamelling: The Art Cold enamel is a 2–component epoxy system of Champleve by Phil Barnes providing an effect like glass enamel. For Explains the rich traditions of the coloured cold enamel the colourless enamel magnificent technique of champlevé, which combines the can be mixed with colour pastes (for skills of engraving and opaque colours) or with dyestuff enamelling. Celebrating concentrates (for transparent fifty years of working as coloured effects). Other a master craftsman, Phil Barnes gives a unique characteristics of cold enamel are: insight into all aspects of good scratch resistance, drying the process. in ambient temperature (no oven 999 A192 £18.99 necessary), almost no intrinsic colour, minimal yellowing on Colour And Textures In Jewellery exposure to light and good by Bekki Cheeseman & Nina Gilbey age-resistance. After the cold Covers a range of techniques and materials, enamel is dry it can be drilled, including enamelling.Written by two experienced filed or polished. designer-makers and tutors, this book encourages you to experiment, make samples, bend the rules (safely) and see what results are possible, before following the detailed technical advice to apply the techniques to your work. 999 A193 £27.50 Cold enamelling

15 VITREOUS ENAMEL Vitreous enamel is glass the item is removed and allowed Opalescent bonded by fusion to a metal to cool to room temperature. Like opal gemstones, these surface. Though normally Subsequent coats, normally enamels have a surface in which transparent, various degrees different colours, are applied. there are colour changes. These of opacity can be produced by Sometimes as many as 10 to are caused by the different adding or growing crystals 20 firings are required to bring refractive indices of the matrix within the glass structure. about the desired results. glass and the crystals. The A wide range of colours can Transparent opalescence, which can be be produced by incorporating These enamels allow light compared with the glaze on high certain elements such as china, is produced by preparing transition metals. and colour to pass through to the metallic surface on which the enamel with droplets which The physical properties of glass they are laid. They are used to will not mix together. The range can be controlled to permit create effects over a patterned, of opal colours is restricted to bonding to gold, platinum, engraved or carved surface. white, red, pink, mauve and blue. silver, copper, steel, cast iron, Transparent enamels need to Opalescent enamels need to be aluminium and titanium. be washed very diligently to fired at least twice to obtain the Museum Art Walters perfect effect. How does vitreous ensure a clear bright colour. enamelling work? Opaque The glass is crushed to a powder These enamels allow no light somewhat finer than granulated through at all, so the light sugar and somewhat coarser bounces back from the surface. than flour. This powder is applied They are manufactured by inert to the metal surface. Next, the crystalline particles being added item is heated to 740–860°C, to raw glass. The washing either in a preheated furnace process must still be stringent or with a hand-held torch. After in order to achieve clean between 1½ to 10 minutes, and problem-free colours.

VITREOUS ENAMELLING Cloisonné TECHNIQUES enamelling Champlevé reflects light back for a rich and is a technically demanding The name champlevé derives lively effect. technique, producing beautiful but somewhat fragile results. from the French word ‘champs’ Cloisonné meaning field, and ‘levé’ meaning This style was originally Low temperature enamelling lifted or raised, and describes a developed in the Mediterranean. This fabulous product means technique where recesses are Ribbons of gold wire were anyone can enamel. You don't cut from the metal to receive soldered onto a gold base to need a kiln or any expensive the enamel. When packed and equipment as the powders fired the enamel is ‘raised’, flush form cells that were then filled with ground enamel, which was can be 'fired' in an ordinary with the surrounding metal. This domestic oven. method possibly achieves the then fused into place. Modern strongest combination of metal cloisonné is more often carried The extensive range of copper and enamel and is suitable for all out on a silver or copper base, blanks makes it ideal for areas, both flat and shaped. using wires of gold, silver or jewellery makers looking for copper alloys. something new. The fact that Basse-Taille you don't need a kiln means Plique-à-jour Developed in Italy in the that younger crafters can enjoy eleventh century, basse-taille Plique-à-jour means ‘glimpse of designing delightful enamelled uses transparent enamels, the day’ and creates a similar pieces too. Efco Jewellery Sets allowing the metal base to be effect to a stained glass window. contain everything you need seen through the enamel. This Here the enamel is held within to create exciting pieces like base can be carved, chased or a framework of metal, with no pendants and charm bracelets. engraved with a pattern to give metal backing. Developed in A perfect introduction to the variations in depth of colour and the fourteenth century, this wonderful world of enamelling.

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