Traditional color

Enameling is a very old technique of adding color to metal, so of course it is one of the methods we were able to try out during Tim McCreight's color workshop. I waited until I got home to do my enameling.

For some reason, my enameled pieces never photograph very well. These are much cleaner than they look.

The single colored piece is created by sifting enamel onto the silver in an even layer. The multi-colored piece is made by mixing the powdered enamel with water and an enamel adhesive; then wet-packing it into the recessed areas.

Wet packing often involves using a mini-spoon type tool or a brush. I took a basic enameling class from Leslie Tieke in Tennessee and she had us use straws that were cut to a point on one end. They worked great (and are much cheaper.)

Currently I'm reading Linda Darty's book, The Art of Enameling. I plan on reading every single word (I told you I was anal.) There's lots of good information that is very clearly written. My order for copper just came the other day as I plan on trying out as many techniques from the book as I can. Copper is cheaper.

I was also pleasantly surprised when I came across several enameled pieces by Adrienne Grafton in Ms Darty's book. (One is on the back cover. She also wrote an article in the book on making a cloisonne' brooch.) Adrienne use to have a studio across the hall from me at the Transit Building but she relocated her studio to Shadyside. She is currently teaching an ongoing enameling class in New Castle, Pa.

Enameled runner

    In an earlier post, I shared a pair of earrings that I made for the local cross country coach.  The coach's own drawing was used for them.  A few weeks later, her husband asked if I could make her a necklace to match and maybe add some color.  I hadn't done any enameling since my class in June, so I decided to give it a try with the limited colors I had available.  

   As usual I ended up making two pendants.  (Isn't this always what I do with commissions?)  It wasn't so much that I felt the need to make two.  This time I lost the first piece and rather than drive myself nuts trying to find it, I made a new one.  (And of course I found the first piece; once I had made the second one.)  Both pieces were different.  The first piece was the same size as the earrings and had one bail.   I remade the PPP for the second necklace.  This time I was able to make the runner in a full sprint by making the piece wider.  The second necklace also has two bails instead of just one.  

   Adding the enamel was tricky.  The areas to be enameled were pretty tiny (and you know what I said about my eyes!)  Adrienne Grafton down the hall (who studied with Linda Darty) loaned me a brush she said was fabulous for getting into small places.  She ordered it through Thompson's enamels.  When it was loaded up with the wet enamel, one would have thought it was going to deposit big globs of enamel..... but it didn't.  It worked great.  (Got to get me one of these brushes!)

   When the pendant was finished, there was something I didn't like about it.  Finally figured out that it was the smooth texture in both the sky and ground.   So, I tried out my new salon shaper. used one of the grinding tips and roughed up the sky.  Once I added some texture, the figure popped out.  It was just what was needed.  

   This is a very weighty piece with almost $30 of clay in it.  The back has a pattern which makes it reversible too and I strung it on 2mm brown leather cording.

   Again, I have to apologize for the quality of the photo.   It was taken quickly, as her husband was coming shortly to pick it up.  The photo once again does not do the jewelry justice.  

   Many years ago, when I was in high school, I did copper enameling and loved it.  In fact I still have a couple of pins I made way back then.  Enameling on metal clay is just as much fun.  I've got several books on the subject.  But, I still feel that an enameling class is the way to go.