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The most commonly used metals for enameling are pure copper and fine silver. The fine silver is primarily used for jewelry because of its cost, color and the advantage of not producing a firescale coat like copper does when it is fired. The copper is the most used metal for enameling for many reasons.... (2003) Complete Story
The purpose of this article is two fold. First, we receive a number of inquiries as to whether or not certain metals can be enameled. This article will answer most of those questions. Second, we have all read statements such as, 'Gilding metal can be fired no more than two times,' or 'Platinum can not be enameled because it has a terrific expansion.' Such statements were based on observations of a limited range of materials. We will show why the statements are misleading.... (1986) Complete Story
In this article, I will discuss the basics of metal preparation for the enameling process. Some experienced enamelists may disagree with part of this. But remember, these are general rules from a metallurgist's point of view, not an enamelist's. The article is not intended to outline or recommend any particular preparation or enameling technique, but rather explain why we do certain things to precious metals during the process of enameling..... (2003) Complete Story
Applying liquid gold, palladium and/or silver in the final firing of enamel pieces is something that can frequently raise the appearance of a completed piece up to the spectacular. More enamelers should use them, but they should also learn to use them correctly. If they adhere to the following simple suggestions and procedures we feel that greater success will be achieved in their use..... (1988) Complete Story
Raku enameling is an exciting process. It is smelly and dirty, and one is much more kinest hetically involved than when sitting at the cloisonne table. The outcome of the process is, in the first few attempts, whimsical to say the least. After the enamelist has done a few pieces, however, the delight in the unpredictable results can easily turn into frustration at the lack of control one has over the materials. The question becomes how to push the raku process from being a 'let's throw this in the raku pot and see what happens' event into an intentional use of materials and what we know in order to produce cohesive work with some life and integrity - works of art which will convey visually a message or feeling.... (2001) Complete Story
