I have been doing some experimenting with fire glazing enamels onto
copper and silver and have had success with tubular pieces. My
question is whether or not this can translate into flat pieces. So
far, I have been trying to work with a flat piece on a tripod but I’m
having trouble controlling the enamel (using Klyr-Fire as the wetting
medium) and preventing it from forming unevenly. I know there will
be some difference in thickness (not using any channel/cloisonne
wire) which will have to be stoned down but this is beyond that. So
far, I haven’t found this addressed in any of my references since
most of them concentrate on kiln-firing.
Anyone have any ideas/suggestions? Is it better to concentrate the
torch on the bottom of the piece rather than playing across the
enamel? All comments are greatly appreciated!
One of the problems with wet packing or using klyr-fire is that it
often results in an uneven surface requiring stoning. this holds
true whether one is torch firing or firing in a kiln. I prefer dry
dusting of the enamels, However, with complicated designs this is is
not always feasible, On those occasions when I do use wet packing, I
apply the enamel in very very thin layers, making successive
applications as necessary. Torch firing is usually done with the
flame underneath the piece. However, bringing it to the surface of
the piece does introduce some interesting iridescent effects.
However, all of this is rather unpredictable depending on the enamel
being used, and the proximity of the flame to the piece being
fired. Perhaps some other enamelists may be able to offer more
suggestions.
I’ve only done this once myself w/ a flat piece and my instructor
taught us to heat from underneath the piece. There are some folks
who swear by this method and prefer it to using a kiln and I believe
the usual recommendation is to heat from underneath. I look forward
to hearing about other folks’ experience. Joel
I remember seeing this offered as a workshop. There was also an
article with a lot of "how to"info 6 or 7 years ago in “Glass on
Metal” (a publication of the Enamelist Society) but you would need
to find an index to the magazine to find the exact issue. Heating is
done from underneath on a trivit, playing the torch over the surface
of the enamel will disturb it and cause uneven areas.
I enamelled for many years as a teenager, took some classes in
college, and then couldn’t take “my” kiln (actually my
grandmother’s) with me, and quit. About a year ago, my grandmother
gave me all her supplies. Unfortunately, the kiln can’t be
installed at our current house (a long story) so all the stuff got
packed up for a few months, before I decided to try torch firing.
I’ve always used klyr-fyr, I’ve never had a problem with it, and
I’ve tried the other media/oils, and I found them to be icky, but if
I’m doing a “base coat”, I paint the klyr-fyr on, and then sift the
enamels onto the klyr-fyr. I initially had a problem with bumpiness
when I started enamelling years ago, but I found the bumpiness to be
the result of underfiring or sloppy application if the enamels were
mixed with klyr-fyr and painted on (when they say multiple firings
of very thin coats, they mean it.) I never let the flame touch the
enamels, it always seems to end in tears, so no counter enamelling
until I get the kiln up and running. I have had great luck with
torch firing, and have done a number of flat pieces on both copper
and silver, as well as several rings. When I fire a flat (or
flat-ish) piece or a ring where the enamel goes all the way around,
I use a trivet and keep the flame on the bottom of the piece, or on
the inside of the ring. For a signet style ring, I use a third hand
(part of a $10 craft and hobby kit from Odd Lots) to hold the ring
design side up and direct the flame to the underside of the design.
As far as a torch, I usually use a smith little torch with
propane/oxygen, but I have also fired several pieces with a butane
torch (the one that stands by itself, not the pencil style one.) I
would love to hear about anyone else’s experiences with enamels,
particularly in a jewelry related context, because the need for
colorful ashtrays is a finite one. Also, if anyone knows more about
producing the irridescence by letting the flame touch the enamels,
please share your
I enjoyed a workshop at Arrowmont with Deborah Lozier a few years
ago. We “torch” enameled. Is this what you want to know about. We
set the item on trivits and fired from underneath using Acetylene
air torches. We did all soldered attachments using regular hard
solder and before firing. It was a lot more fun than using kilns.