Hi everyone, I want to try enameling pure silver. I understand the basic process but before I start getting materials i wanted to ask a few questions.
Are all enamel powders intended for use in a kiln basically the same? I assume I want to use transparent enamels since I’m using silver… In other words, are there different types meant for different skill levels or firing temperatures? Is there any that seem to work better on pure silver (everything sticks to gold but silver is finnicky).
Are there suppliers that sell a small color assortment? I make jewelry as a hobby and would only being making small amounts.
One of my projects for example will be a very lifelike conch I made so I will want to make a dark pink color inside with a gradual color shift to white.
I have been experimenting with durenamel and like what I see so far. It is a lot easier and less messy to mix than regular resin, cures hard in 60 minutes and can be ground, sanded and polished. I know that it isn’t enamel, but so far it is the best way to get color into my work other than for lapidary…Rob
Thompson sells sample sets of either unleaded opaque (1000 series) or transparent (2000 series) in 80 mesh. Enamel Warehouse is a distributor as well.
Unleaded transparent reds, pinks and purples sifted directly onto silver or copper will result in light to muddy browns so must be sifted over a flux or opaque white. This is mentioned in the FAQ’s. Fluxes and opaque whites flow at different temps (hard vs soft), which is also addressed in FAQ’s. Opaque liquid red and pinks fire more true when applied directly onto the metal. Fire temp and number of firings can also affect the end result.
There are a few FB groups devoted exclusively to vitreous enamels that could also prove helpful.
Hopefully @LaLinda will offer her expert opinion on this subject.
The simple answer is ‘no’. All enamels are not the same. Firstly, enamels are divided into two major categories: lead-bearing and lead-free. Within those categories they can be divided into opaque or transparent enamels. Reading through the Thompson information may be somewhat confusing where painting enamels are discussed (these are extremely fine (as opposed to coarse) grains of opaque enamel powder. But, to back up a bit. . . the overarching differences between enamels depend on the manufacturer of the glass powders of which enamels are composed. Like any other product made by humans, the quality of enamels depends on the attention that the manufacturer pays to producing a quality product. French and Japanese lead-bearing-enamels manufacturers have traditionally/generally been considered to be the producers of the highest quality of these enamels, with the greatest range of colors. Thompson Enamels is well known and respected for producing lead-free enamels. In my personal work and when teaching, I have used French, Japanese and Thompson enamels, all of which reliably result in beautifully finished products. If you don’t already own Linda Darty’s book AND Karen Cohen’s book (second edition), run, don’t walk, to your nearest bookstore and purchase, then read them cover to cover. Karen’s book has one thing that most enameling books do not have. . . a trouble-shooting section that I have found most helpful. When you are done, don’t be dismayed about the amount of information contained in each of these volumes, but as with any new skill, pick and choose what most applies to what you want to make and spend the time practicing on samples with the enamels of your choice. Take a class with an enamelist who work you admire, if possible in person. Pocosin Arts has a range of online classes that often include enameling skills, but they can be useful to more advanced enamelists. Find an instructor who offers or is willing to offer a class for beginning enamelists and you will be reading to experiment on your own. Join The Enamelist Society and watch their Zooms on Tuesdays; attend their conferences to take classes, see exhibitions, etc. Hope this helps.