Overview

Thank you for visiting my page for the 2nd edition of my book on enameling - The Art of Fine Enameling. The publication date is Nov 1, 2019, published by Stackpole Books/ Globe Pequot Press and Rowman Littlefield. It is currently available for pre-order at Amazon and pre-order at Barnes and Nobles.

This site provides the book's Preface and Table of Contents as an overview. And also lists the full step-by-step projects in the book.

Information for enameling books are never really done - there is always something more to be added. Thus, the TOC includes links to new information or updates that were not able to make it into the book. The intent is to provide more information, but also to entice you to purchase (lol). I hope you enjoy the book as much as I enjoyed writting it.


last updated 06/20/2019  

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Preface

Welcome to my enameling book: The Art of Fine Enameling, Second Edition. My first book was published in 2002, over 15 years ago, and we have all grown and learned a lot since then, which this sequel will pass on to you, the reader. Who says an old dog can’t learn new tricks!

The wonderful world of enamels is so diverse, practically no other medium can compare. In its easiest terms, enameling is the fusing of glass to metal under high-temperature conditions. Thus, anything that can be made from enamel-friendly metal can be enameled; anything from vases to buttons, frames to jewelry, metal mesh to solid forms, large to small, or fancy to plain. Even the tub inside your common household washing machine and street signs are most likely enameled. With technology and innovation, this just keeps increasing.

This book is a look into the beauty of fine enameling, where artwork is created with colors and textures that bring joy to the heart. To start, why not simply browse the over 450 tantalizing photos of finished enamels that are included from over 165 enamelists? You will get a feel for the diversity of the medium and the charm of the finished pieces. Unlike other art forms such as painting and fabric arts, enamels won’t fade with time; they are as permanent a medium as you will find.

As in the first book, the projects included are by contemporary living enamelists, not all full time professionals, but we do all teach, either at the college level or at the major craft education centers around the country. Some of the material included the first time around is included in this book, too. The organization is updated, 15 years of experience has been added, about half the projects have changed, nameless processes are now named, and two types of mini-projects to expand your learning experience are included. In addition, with each project, I have added a Technique Gallery of other artists’ working in that technique to give a view of other ways that technique can look and be used. Some of these artists represented here only use enamels in their work periodically, but these show how enamels can enhance other art forms without the artist having to be a full time enamelist.

The projects included from my first book are some of the classical techniques such as Champlevé, Cloisonné and Plique-à-jour. The new projects are other traditional techniques or newer approaches to materials such as the use of Graphite Pencil or Enameling on Steel. The mixture of projects was meant to teach the basics and also provide instruction for more esoteric forms of enameling.

The mini-projects are general descriptions on a LTTtechnique without giving full step-by-step instruction with photos. Two types of mini-projects are included: One type is associated with most projects - the variations to a full project. The other, which is labeled Learn The Technique (LTT), provides the reader with over 35 different processes.

Remember the wise words of Bill Helwig, mentor to many of the artists in this book: “if you can repeat a mistake three times, it becomes a technique”. An example of this is the error of over firing silver on a copper base, forming a eutectic. This is now a project, Eutectic Effect, which gives some guidelines on how to control the process. Always keep in mind that although something didn’t come out the way you envisioned it, it may be just wonderful and we’ll call that: Oops Perfect!

Most of my work today is making Studio Buttons, those little pieces of artwork, created for sale to Button Collectors. As most people have not heard of Button Collecting (one of the top hobbies in the country), I wanted to show some of the gorgeous antique enameled buttons, which were created in many of the classical enameling techniques. I hope you find this as fascinating as I do.

We are always happy when younger people enter into the field of enameling. This is especially important as many enamelists are getting older and some have already retired. For many contemporary enamelists that have passed, I have included their work as a memorial to them.

Enamelists do not always agree on how things should be done. Thus the information in this book should be viewed as merely a starting point as it reflects the author’s and other artists’ views. Although some of the science about enamels is included, in general this book is a How-To text. More of the science can be found in the first five volumes of Glass On Metal (GOM) magazine, originally published in 1982 by Thompson Enamel, and now published by the Carpenter Art Enamel Foundation. Much of the writing was by Woodrow W. Carpenter, who has had a large impact in the enameling field.

Of course I still show many gorgeous enamels for eye candy. Thus the purpose of the book is not just a how-to primer, but a coffee table book and a way to learn and appreciate The Art of Fine Enameling.

--- Karen L. Cohen

 


Table of Contents

  • What is Enameling?
  • Enamelist’s Studio
  • Enamel, The Material
  • Supplements and Add-Ons
  • Metal As A Canvas
  • Enamel Application
  • Firing Enamels in a Kiln
  • Finishing
  • Trouble Shooting
  • Technology
  • Projects
    • Introduction

      There are 21 projects, each teaching something different. Some projects are the same as in my first book, mostly with updated write-ups; about half are completely different based on new trends in enameling.  

      It should be stated that many enameling techniques have to do with the preparation of the metal, not the application of enamel per se. That is, for example, the way you apply the enamel for Cloisonné and Champlevé are both wet-packing, but the metal preparation is totally different. Thus some projects like “Foldforming,” “Metal Clay—Silver,” and “Torch Fired Enameling” are heavy on metal preparation. However, as this is a book on enameling, not metalsmithing, some metal technical knowledge like soldering is assumed.

      The “Steel Based Enameling” project is also special in that its most important aspect is the enameling of the base coat; after that, you can use any enameling techniques you’d like.

      Although each project gives a step by step on how to apply enamel, the project “Sgraffito—Liquid Enamel with Layered Wet-Floating” provides a view on building up colors over a white ground that is useful in many ways. The term “wet-floating” is being newly introduced. It is advised to read this project with an eye to that information for use in other techniques for building layers of enamel colors.

      The project “Painting with Enamels—Traditional Limoges” is quite complex in construction, but even if you are not interested in painting with enamels, it provides extensive information on construction of a multipiece project.

      The project “Impasto, Grisaille, and Camaïeu” describes the technique of building up of white enamel to form highlights in an Impasto piece. This build up is the

      same for Grisaille and Camaïeu, all three having different backgrounds. The project discusses the differences and similarities between these three. Samples of the same study are shown in each of the techniques.

      The project “Separation Enamel” also shows how to create a “foot” for 3D objects so that they are self-stilting, thus eliminating trivet marks in addition to being decorative. This concept can be used with other projects, as the reader deems fit.

      There are some projects that are similar, but have major differences:

      • Painting with Enamels: The traditional Limoges project uses oxides, under-/overglazes, and the fines. The other uses different supplements and has an emphasis on drawing techniques. Although both are painting techniques, they are approached differently, and readers can decide if one or the other fits their style of artwork.
      • Sgraffito can be done with either regular grain-form enamel or liquid enamel, providing two projects. With LTT “Gold Leaf Sgraffito,” Keith Lewis describes how to scratch through leaf. This is an LTT write-up and not a full project, but I mention it here because it involves Sgraffito through a layer before firing. However, because it is not a Sgraffito through enamel, it is not included as a variation of one of the two Sgraffito projects.

      Each project includes a Technique Gallery and most have a set of variations. This helps the reader see and learn how other artists use this technique and the differences between them. My intention is to expand the learning experience for any one technique by describing these.

    Basse Taille

    Basse Taille
    by Ingrid Regula

    champleve

    Champlevé
    by Katharine S. Wood

    Cloisonne

    Cloisonné
    by Karen L. Cohen

    Decals

    Decals
    by June E. Jasen

    Eutectic Effect

    Eutectic Effect
    by Averill B. Shepps

    Foldforming

    Foldforming
    by Charles Lewton-Brain

    Ginbari

    Ginbari Foil Embossing
    by Coral Shaffer

    Graphite Pencil

    Graphite Pencil
    by jbEbert

    Impasto, Grisaille, Camaieu

    Impasto, Grisaille and Camaïeu
    by Marilyn Seitlin Tendrich

    metal Clay silver

    Metal Clay - Silver
    by Pam East

    Limoges

    Painting with Enamel – Traditonal Limoges
    by Ora Kuller

    painting

    Painting with Enamel – with an Emphasis on Drawing
    by Mi-Sook Hur

    Pitting Enamels

    Pitting Enamels
    by Jean Tudor

    plique

    Plique-à-jour by
    Diane Echnoz Almeyda

    Separation Enamel

    Separation Enamel
    by Tom Ellis

    Sgraffito - LIquid

    Sgraffito – Liquid Enamel with Layered Wet-Floating
    by Judy Stone

    Sgraffito - Traditional

    Sgraffito – Traditional
    by Sally Wright

    Stenciled Tile

    Stenciling
    by Sally Wright

    Steel

    Steel Base Enameling by Kat Cole

    Torch Fired

    Torch Fired Enameling
    by Steve Artz

    Vessel Forms

    Vessel Forms
    by Sarah Perkins

     

  • Appendix
  • Dedication
  • Acknowledgements
  • Index