Two questions about ColorIt
–1) I get the impression that ColorIt is the superior substitute
for glass enamel on Sterling silver. But when I asked a ColorIt
dealer for the names of a few companies that do production work with
ColorIt, I was told that no one is using it for mass-produced work,
but rather just for one-offs. Is this true, and if so, why is it
true?
–2) If there are people using ColorIt for moderate-run production
pieces, say in the 100’s at least, can you please tell me who you
are!
Thanks.
I get the impression that ColorIt is the superior substitute for
glass enamel on Sterling silver.
Hmm. I would say that ALL glass enamel is superior to ALL resin.
That’s just my opinion. Resins aren’t evil, but they are different,
and we shouldn’t pretend that they are equal to real glass enamel.
Elaine
http://www.CreativeTextureTools.com ™
Hard to Find Tools for Metal Clay
Andy,
I have used Colorit for years. True- mostly one-off pieces, but there
were runs for Krewes, etc in which I used the material for hundreds,
if not a thousand pieces. The limitation is drying time and how long
one has to apply the various steps to pieces to achieve the resultant
colour or effect desired, and cost as glass is far cheaper in the
long run.
Application has to be done in a temperature controlled environment,
and the process, as i used it/use it, involved some layering and some
floating into hollows to achieve a stained glass like effect formerly
only accomplished through using glass enamel…It is a versatile
substance, and unlike Elaine’s summation does quite look like and act
like traditional enamel once fully cured…and in many ways is
superior to glass enamels, particularly to the beginning jeweler that
has not the funds to invest in a kiln as well as all the other
essentials to a small shop ( like a rolling mill!)…I suspect the
reason Colorit told you no one is using it in mass production is due
to the cost and their limited packaging capacities…they have never
bent when asked to provide the materials in larger quantities to any
school i have taught at or any time I inquired about a quart, or more
of x colour for larger scale work, or many pieces of a design ( as in
Krewe favors, call-out gifts, or team sport awards etc. ).
If you can keep the liquid from drying out or skinning over when
doing large production then most of the fight is won…I have tried
covering tjantings of a colour with nitrogen, CO2 and a few other
gases to extend the working time to little avail…tried different
containment vessels and delivery systems…time is always against you
in applying the material to many of anything…so batching into
smaller runs and lessening the steps involved were the only viable
solution…Ultimately the effects are not as versatile as glass
enamels in number, but to add colour to workpieces it is a very
viable and versatile material exceeding that of most epoxies and
most other available resins…the finished product looks and acts like
enamel, without the tendency to chip if not stoned to a proper height
before a final flash firing as with glass…Feel free to contact me
off list if you want more experiential related .I am in
the process of moving though so please allow a few days for a
response unless it’s urgent in the subject line…
RER
Clarification- my impression is that ColorIt is superior to other
substitutes for glass enamel used on Sterling silver, not that
ColorIt is superior to glass enamel itself.
That’s why I am surprised to not be able to find anyone using it for
production work in larger quantities. I suspect that one of these
two impressions is incorrect.
Is anyone on this site using ColorIt for production runs of many
pieces?
It is a versatile substance, and unlike Elaine's summation does
quite look like and act like traditional enamel once fully
cured..and in many ways is superior to glass enamels,
we use Ceramit now and then, which is basically the same thing as
Colorit - had a run on American flags there, for awhile… The problem
I have with it is polish. They say it can be polished but not by me,
I guess. If it can be done then it’s going to be a learning curve.
There’s an inherent porosity to it also that will pick up compound
and get “dirty”, too. What that translates into is that you have
something like cloisonnes and fill them with resin, and you have to
do it (I have, anyway) at the very last and leave it alone. You
either need to be completely anal about stuff like having color on
top of the borders or just live with it, because it can’t be ground
like glass. Plus colors will bleed immediately if they touch when
wet. It’s real handy for adding some color - I’m not sure I’d use it
on a large scale, but that depends on what the product is, too.