Enameling on Metal

99 Pages·1957·16.45 MB·English

by  Oppi Untracht

o n
OPPI UNTRACHT
Instructor in Enameling
Brooklyn Museum Art School
Photographs by the author unless otherwise indicated
Crucifix, Kori Drervp, Campion, New Hamp
CHILTON BOOK COM PANY
shire. Pewter Frame
Radnor, Pennsylvania
I
PUBLIC LIBRARY SAN MATEO CALIFORNIA
ACKNOWLEDGMENTS
I would like to acknowledge the cooperation of all the enamelists who have contrib
uted photographs for this book, and of those who very graciously allowed me to
photograph their work and techniques. Their names will be found listed in ttle Appen
dix. I should also like to thank ttle Metropolitan Museum of Art and the Cooper Union
Museum for the Arts of Decoration for photographs of work in their collections. Also,
many thanks to the students in my enameling classes al the Brooklyn Museum Art
School from whom I learned a great deal.
Oppi Untracht
New York City
" BOUIUABAISE" Three Dimensional Construction - Oppi Untrocht
©
Copyright 1957 by Chilton Book Compony. Publi•hed in Rodnor,
Po .. by Chilton Book Compony, ond •imultoneousl~ in Don Mills, Ontario,
Conodo, by Thomas Ncl!On & Sons, Ltd.
All righh r•••r•ed
libro1y ol Cangrus Cotolog Cord Nnumber: 57-119()4
ISSN: 0-8019 0166·9 Cloth Edition
ISBN• 0 8019 5702-8 Pappr Edition
Monufoctu1ed in th• Untt..d Stat~• of AmP<ico
0 43210987
v
1/'7-06031
FOREWORD
There are three primary factors which make enameling an attractive craft ta both the be·
ginning and the experienced enameler. First, there is the speed of the firing time of on enom·
eled piece which con be counted in minutes, rarely longer. Second, there is the appeal of
color; several hundred colors may be purchased from leading enamel manufacturers. Third,
the simplicity of the basic techniques brings the practice of enameling within the grasp
of the beginner and offers on exciting area of exploration. Ta these we could also add
the comparative durability of metal enamels, the possibility of correcting "mistakes" or
defects, and the relatively sin1ple equipment necessary to practice enameling.
Any one of these factors could account for the tremendous interest in enameling which hos
developed in the United States during the last few yec1rs. To hove them all is to be offered
the contents of the cornucopia, so lo speak. It is perhaps presumptuous to soy that the pos·
sibilities of a craft which has hod a history of nearly two thousand years hove barely been
touched, but this attests to the richness of the medium. Each age contributes its own esthe
tics and its own inventiveness. The enameling work being done today is certainly derived
from the work of the past, but the experimental approach is a distinctly contemporary
contribution. Within the limits of the very definite physical lows of 1noking an enamel, the
range of possibilities hos been extended, in the United States perhaps niore than in any
other place. A lack of tradition and the assertion of individualism rnay account for this
healthy state of affairs, but the influence of contemporary eslhelics and an abundance of
inexpensive and readily available materials and equipment are certainly important con·
tributing factors. It is for these reasons that - after an exploration of the basic traditional
techniques - this book deals mainly with "experimental" approaches to enameling. It is
in this area that the important work of today is to be accomplished.
For those who approach enameling as a hobby, as an outlet for creative energy, or for
therapy, the rewords ore plentiful. In a very short time it will be possible lo produce
"respectable" results. To those whose ability and interest draw them further, the horizons
of the croft ore infinite, and the rewords increase proportionately. To all, we extend a
welcome to the brotherhood of men and women who ore devoted to the fascinating art
of fusing gloss on metal.
VII
CONTENTS
Chapter 1
. .
Wha t is Enamel . . . . . . .. . . . . . . . . . . . . . 17
"
Enamel Preparation Types of Enamels. Metals for Enameling
Chapter 2
. . .
Material and Tools . . . . . . . . . . . 2 1
• • • • • • • •
Preparing the Metal Applying Enamels. Firing Enamel Pieces. Finishing
Enamels. Soft Soldering. Hord Soldering.
Chapter 3
Making a Sampler . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . ...... 27
Opaque Tests. Transparent Tests. Metal Foils. Bright Dip.
Chapter 4
Preparations for Enameling . . . ........................... 31
Cleaning Copper. Removing Firescole with Other Methods of
Acid~Pickling
Cleaning. Preparing the Gum Solution Applying the Enamel. Devices for
Firing Enamels. Firing Procedure Finishing a Plain Copper Back. Counter
Enameling. Overfiring.
Chapter S
Mirror Batk, Doris Hall, Boston, Massachusetts
(Courtesy The Art Mart)
Traditional Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Cloisonne Hord Soldering. Wet Charging Enamels. finishing Cloisonne.
o
Soft Soldering Plique Jour. Chomplive Enameling. Bosse Toille. Limoges.
Overgl 'lZe Colors. lusters Wei Charging Enamel Grisaille.
Chapter 6
.
. . . .
Techniques lo Produce the Unique . . . . . . . 83
Sgroffito. firescole or Oxided Surface. Drawing lines w11h Pen and
Glycerine Slush Colors. Enamel Threads. Chunk or fril Enamels Millefiore
Gloss and Other Gloss. Use of Hairnets and Openwork fabrics Molle
Surfaces with Hydrofluoric Acid. Gold and Silver Granulation
Chapter 7
Techniques for Production Designs . . . . . . . . . • . . 1 15
Stencil Enameling. Transfer Designs. Silk Screen Designs.
ILLUSTRATIONS
Chapter 8
.
. . . .
Causes and Corrections of Defects . .... 12 9
' ' ' • • • • • • • •
Crocking. Bore Patches. Burned-out Patches. Craterous Bubbling Firescole
Peeling Enamel.
Chapter 9
. . . . . . .
Enameling Projects . . . . . 133
• • • • Crucifix, Kori Drerup
. . . . • . . . . . . . . . . . • . . . . • . • . . . . . . . frontispiece
Jewelry Bowles. Ploies and Boxes. Mosaics Clock faces and Tobie Tops
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
" Bouilloboise", Oppi Untrocht
Three-D1mens1onol Sculpture Murals. Enameling os o Profession
Mirror Bock Doris Holl . . . . • . . . . • . • . . . .. • . . . . . • . . . . . . . . . • . . . . X I
Appendix ................ . 173 Sowl, Oppi Untrocht . . .. . . . . . . . . . . . . . . . . . . . . . XVI
• .
. . . . . . . . . . . . . . . . . . . . . .
Enamels on Steel, Arne Korsmo, Catherine Holm .. 17
Kiln Temperature Comporsoon Tobie. Melting Points of Metals. Sheet Metal
.
Gouges. Metal Alloy Composition. Weights of Sheet Metol. Sources of Arthur and Jeon Ames . . . . . . . . . . . . . . . . . . .. . . . . . 19
.
Enamels; Kilns and Tools, Overgloze Colors; Gold. Silver and Fools Copper; Tools and Mo serials .... . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 21
Spinners; Luster. . Bibliogrophy, Technical; Historical. Lisi of Enomelosts.
Materials for Preparing and Applying Enamels . . . . . . . . . . . . . . . .. . . . . . . . . . . 22
. .
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Tools for Firing ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
' '
• •
For Finishing Enamels . . . .. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
' '
Moteria Is for Soldering . . . . . . • . . . . . . . . . . • . . • • . . . ..... . ....... . .... . 25
Transparent Test Samples ..•...... . ....•... . .. . ..•..... . .. ... . . ... . ..... 28
Metal Foils . . . . , ... . , ..........•........... . .... . .. . ... . ... . .... . .. . ~ 29
Plaque, Oppi Untracht ....... . ..••........ . ........ . ........ . •. . ...•... 30
Dusting Enamels .. ······························ ········ · ··· · ····· 32
. . . .
Preparation for Firing . . . . . . . . . . . . .. . . . . . . . . .. . . . 36
' • • • • • • • • • •
. .
Counter Enameling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
'
.
Overfired Bowl, Hortense Isenberg . . . . . . . . . . . . . . . 40
• • • • • • '
.
Chinese Cloisonne Vose, K'ong Hsi . . . . . .... . .... . . . 4 1
• • • •
. . . . . . . . . . ..
Cloisonne Box, Sigurd Persson .. 42
• • • • • • •
x
XI
43
Eileen Bristol .........•.............•... . ......... · · · · · · · · · · · · · · · · · • · ·
Tostrup Factory, Oslo, Norway .......................................... . 76
44
Kori Orerup ..... .. ..... .. .. . .. - .. . ........ · ... · · · · · · · · · · · · · · · · · · · · · · · · · ·
Cloisonne Crucifix, Kori Orerup . . . . . . . . . . . . . . . -. . . . . . . . . -. . . . . . . . . . . . . . . . . 4S "In the Gorden", Arthur Ames . • .......•................... . . ... .• . .••.. 78
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . "Phoenix", Oppi Untrocht ......•. • ..........•...••...................... 79
Cloisonne Cross, Sigurd Persson .. 47
. . . . . . . ............................. . Plaque, Morie Gilmore . . . . . ...•..... , ............................... . 79
Cloisonne Panel, Byzantine .. . .. 48
Tozzo, French, XVI Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Cloisonne Brooch, Fred Farr 48
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Mirror Cose, French, XVI Century • • • • . . . • . . . . • • • • . . . • .................• 81
Plique 6 Jour Brooch, Hortense Isenberg .....••.....•.......••....•... 49
Box, Ruth Roemisch .............................. . 81
so
Gold Pl1que 6 Jour Bowl, fernond Thesmor . . ...•.•........•.. · • · •. • .•• · · •
' Primavera", Ellomorie and Jackson Wooley • . • . • . . • . . • • • . . • • • . . . . • • • . .... 82
so
Japanese Plique 6 Jour Bowl, 20th Century .....•........•.....•...•••....
Enamel on Silver, Sigurd Alf Erikson . . •........•• , . • . • . • . . • • •••. 83
so
Silver Plique 6 Jour Bowl, Hortense Isenberg ..................•.............
"Old Sol", Doris Holl and Kolman Kubinyi ..•.•..............•.......... 84
Pllque a Jour Box, Merry Rink . . . . . . . . . . ....... . •.... . ..........•••. · . · Sl
"Girl with Boll", Ellomorie Wooley . , . . . . . .....•.......... . ..•.•... · · · , 85
Plique 6 Jour Lamp Base, Hortense Isenberg ......•.. . .....•..•......•.. ... . S2
Sgroffito (series}, Poul Hultberg . . ........•..........•........•...•. • · .. . 86
Chompleve Reliquary, French, XIII Century ...•.. . ......••....•.......... 53
Poul Hultberg _ . . . ........ . ... . .......... .. ....... . ... . ........ · · .. . 89
Chompleve Reliquary, Spain, XII Century . . . .............•• , .......... , .• 54 . . . . . . . . . . . . . . . . .
Pla te, Oppi Untrocht . . 90
SS • ·•·•····· · ••·· · ·· ··· · ·•'t••·•1·
Walter Rogalski ........ .. .... . ... . ............................. .
Sgroffito Bowls, Oppi Untrocht .. ...... .. ...••..... , ••. .. •.... .. . . .•...... 90
Depth of Etch (series) . . , , . . . ................ . .•.....•.. . ...• . ... · . · . 56
''Head'', Rose Kevit . . . . . . .............................................. . 91
Wet Charging, Wolter Rogalski . . . . . .•.....•....•.... . . · · . · · · · · · · · · · · · · 58
92
Bowl, Oppi Untrocht ..... . ....... . ....................... . ... · - · •. · · · ·
..
Chompleve Roundels, French, XIII Century ............ . ........... . .... . S8 Plate, Opp i Un trocht . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
'
Cost Copper Gilt Lion, French, XIII Century .•.........•.....•....•....•.... 59 Plate, Michele Wilson . . . . . . . . . . . . . . ' . . . . . . . . . . . . . . . . . . . . . . . . 93
Enameled Brooch, Sigmund Alf Erikson . . . . . . ..... . . - ..... - . · · .. · · · · · · · · · · S9 Sculptural Panel, Poul Hultberg • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
. . • • • • • • • .
GSirlevteor CKloorissmonon e Bo.x., Grociello Loffi • • • • • '• .• .• .• .• .• •. .• .• .• .• .• •. .• .• .• . • .• •. .• .• .• .• .• .• .• .• .• .• .• .• • 6S90 MPlaattee,r iOalps pfio Ur nPterno cohrt Brush w ith Glycerine .' . . .. .. .. .. . . .. . . .. ... . . . .. .. .. .. .. .. .. .. .. .. .. .. . . . . .. .. 996S
Bosse Toille Panel, Wolter Rogalski • • • • • • • 61 Demonstration, Poul Hultberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Chompleve and Bosse Toille Brooches, Henning Koppel, George Jensen •..•••... 62 "Jungle", Oppi Untrocht . . . . . . . . . . . . . . . . . . . . .... 100
• • • • • • •
Bosse To1lle Plate, June Schwarcz . • • • • • • • • 63 ''Pines and Lake", Poul Hultberg . . . . . .............. . . . . . . . . . . . . . . . l 0 1
Enameled Silver Fork and Spoons, David Anderson ...•..........•... • .• • · · 63
' Ceremonial Mask", J. Anthony Buzelli . . . . • . . ..••. . ........... .. - . . • . . 102
Silver Enameled Bowl, David Andreson ...... . ..... . ..••.................. 64
Bowl, Doris Holl . , . . . . .. .................................. - . 103
Basse Taille Vase and Bowl, David Anderson .....................•.. . •..... 64 . . . . . . . . . . . . . . . . . . . . . . . . . .
Plate, Pauline Bender . . . . . . . . 103
Free Form Bosse Toille Plate, June Schwarcz . . . . . . . . . . . . . . . . . . . . . ...••.... 65
Slush Techniques (series) Pauline Bender . . • • . . . . . • . ......•...•.......•.•. 104
"Spiral', Bosse To1lle Brooch, Hanno Visund ......•........•.....•.......•. 65
Plaque with Enamel Threads . . . . . . . . • . ....•...•..•.... . .......... 106
"Angel", Pointed Enamel, Miro Jedwobnik . . . .....•••....... • ..... • •••. . • 66
Steel Plaque, J. Anthony Buz.elli .....••......•.....•......•.............. 107
Triptych, French, XVI Century . . . . ..•• o • .• ' o t I • • I • • t. .' o .o a o o o 0 • o I ' o 0 o o o o o 67 Copper Plaque, Myles Libhort . . . . . ' .. . . . . . . . . . . . . . . . . . ' . . . . . . . . . . . . . . . . 108
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bowl, Oppi Untrocht . . . . ............. . 68 . . . . . . . . . . . . . . . . . . . .
Plaque, Dorothy Sturm .. . . • • • • • • • • • • • . . ' .. . . . . . . 109
"The City", Miro Jedwobnik .......... . ..... . .. . . . .... . .. · · · · · · · · · · · · · · · · 69 . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .
Plaques, Myles Libhort .. , . ' .. 109
' ' '
Plates, Kothe Berl . . . . ........... .. ..... . .... . . . .. . .. · · . · · . - · · · · · · · · · 69
Ploque, Kori Drerup . . ' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ' . . . . .. 70 HPlaaitren, eMt oTye cFhrnieiqmuaen De. m. .o n. s. t.r a. ti.o n. , M. oy.. .F.ri eman .• • . .• .• • .• .• .• .• . • . .• .• • .• • • • • • • 1l 11 01
. • • •
Plotes and Bowls, Austria . . ........... . ............. • · . · · · · · · • • • · · · 71 . . . . . . . . . . . . . . . . . . . . . . ..
Germon Enamel Plate .... , .............•. .. . 11 2
Pilgrim Bottle Ita ly, XVI Century . . • • . . . . . ....... . ........••.......••..•. 72 . . . . . . . . . . . . . . . . .
Mural, Poul Hultberg ..........•..•.......• . . . .. . - . . . 1 1 4
~
Plate, Oppi Unrrocht . . . . ..... . ............. . ................... . 73 s
Materials for Stencil Design . . . . . . • . . .....•...... · · ..... · · · - · · · · · · 11
Application of luster .... 74
"Portrait of a Lady", French, XVI Century .• "• •. .• .• •. .• .• .• •. .• •. .• . • .• •. . • .• .• .• .• •. . • .• .• .• .• .• •.. .• .• .• 75 "Stencil Ousting" (series) Ethel Hultberg . . • . . . . . • ..... · · • · . · . · · • · · · · • · · · I I 7
XII
X Ill
Cigarette Box, Ethel Hultberg . . . . . . . . . . . . . . . . . . . . . . . . . . ............ ' . . 12 0
. . . . .
"Co II"1 s.1 ons" , 0 ppr. Un trach t •.•....•...... . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 "St. Francis", Virginia Dudley . . . . • . • . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
"Baroque City", Poul Hultberg 122 ''Seo Birds'', Virginia Dudley . . . ................................... . 150
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
"Winter Hillside", Poul Hultberg . . . . . . . . 122 Making o Mosaic (series), Virginia Dudley ......••.............•........... 151
• • • • • • • • • • • • • • • • • • • • • • • .• • • • • • • •
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Mesopotamian Bull", Virginia Dudley ... , .............................. . 152
Plate (series) Philip Littman .. . 123
.
. . .
Box, French, XVIII Century ... . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . 124 Clock, Stig Lindberg . . . . . . . . . . . ................................. . 153
Clock, Oppi Untrocht ......... ...•.... , .............................. .. 154
Cloak Pins, English, XVII Century ........................................ . 124
Clock, Oppi Untrocht ................. ....•........•.................. 155
Moteriols for Tr onsfer Designs (series) .................................... . 125
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Clock, Oppi Untrocht .. .. .. . . 156
"Nacht·Sp1el, After the Supper", Stig Lindberg ..•................•....•.... 127
. . . Tobie, Peter Ostuni ...............•... .. •.. .. ............. •. .. ........ 157
"The Waves", St1g Lindberg 128
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
. . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . Firing Enameled Jewelry , .......... . ...•.. , . ... .......... , ............. . 157
Crocked Enamel ....... .. ........... . 129
Bore Patches .. . . . . . . . . .. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Children's Mural, J. Anthony Buzellf .•.....•..•..............•..........•. 158
. .
Burned ·out Patches . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 ''Portrait'', Stig Lindberg ..... , ................ .. ..... .. ...... . ......... . 159
'
Croterous Bubbling . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 " Fantasy", Stig Lindberg . ..... ... .. .. . , ...... ..... ... . .. ........... .... . 160
.
.
. .
. . . . Three Dimensional Sculpture Demonstration, Bernard Fischer ..... .. . . ... • . .... 161
Firescote ... .. ........ .... .. .. .. .. . . .. . . . . . . . . . . . . . . . . . . . . . . . . 132
Peeling Enamel . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . 132 "Siomese Co t11, Be rnard f 1' sc h er . ... . ....... . .. ... .. .. . .......... ......... . 162
' '
"Pisces", Doris Holl ond Kolman Kubinyl .................... ...... .. . ..... . 163
Pin, French, XIX Century ...... ... .. ... .... . ..... . ......... . ........... . 133 . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
a "Gazelle", Bernard Fischer 164
Pllque Jour Brooch, Ronald Peorson ..... . ... .. ... ... . ...... ....... ... .. . 134
" Birds", J. Anthony Buzelli .........•.... , , .........•......... . .......... 164
Merovingian Enamel Dragons IV-VII Century ........ .. .•.................... 135
''Petals'', Poul Hultberg . . . . . . . . . . . . ........... , .. ...•....... .. .. 165
Earrings, Hortense Isenberg . . . . . . . ....................... , ...... , .... . 135 . . . . . . . . . . .
. . . . . . . . . . . . . . . . .
Three Dimensional Construction, Barney Reid .. 165
Necklace, Mory Schimpff ....... . .. .... ..... . .....................•.... 136
Necklace ond Earrings, Grociello loffi . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 " Fragmented Symbol", Virginia Dudley . . . .. . . . . . . . . . . . . . . . . .. . . . . . . . . . 166
Necklace, Mory Schimpff .............. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Detail of Silver Cross, Sigurd Persson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
. . . . . . . . . . . . . . . . . . . . . . . . . . . . "Seagulls", Bernard Fischer . . . . . . ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Necklace, Grete Korsmo . . . . . ......... . . . . . 137
"Acrobats" Kathe Berl . . . 167
Earrings and Cuffl1nks, Hortense Isenberg . . ..........................•... 137 I ••••••••••••••••••••••••••••••••••• •• ··•·••••
Murol, Peter Ostuni . ...... ...•................................. . ...... 168
Enamel with Silver Wire Pins . . . . . . ...............•................... 138
Applying Enamel, Peter Ostuni . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . 169
Necklace, Grociello loffi . . . . . ....................... . ..........••.... 138
Panel,. Peter Ostvni ........................................... _ ....... . 169
Shell-Shaped Box, Germon, XVIII Century ...•........ . ........ . ............ 139
"Dophnephorio", Doris Holl ............................................ . 170
Slipper·Shoped Box, English, XVIII Century .......... .. .... . . . ............. . 139
Plate, Kori Drervp ....... . ... . ...... , .......................... ........ . 171
Botterseo Enamel Box, English XVIII Century ....... . ............... . ....... . 139
. . . . . . . . . . . . . . "Still life", Ben and Phyllis Fischer ............................. . ........ . 171
Bowl, Bernard Fischer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Plate, Oppi Untrocht . . . . .... . . . . . . 171
Box, Grociello loFfi ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 1
. . . .
House Numbers, Barney Reid .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
"St. George ond the Dragon", Italian, XVI Century .... , .......•............. 142
Condiment Set, Henning Koppel .......................... .. ............ . 180
Reliquary Box, French, XVIII Century .... . .... . ........................... . 142
"Still Life", Mira Jedwobnlk ...... , ... .. ........... . . ................... . 181
Compote Bowl, Myles libhort ......... , ................................. . 143
Soldering a Bose, Michele Wilson ............... . ....... .... ..•.......•.. 144
Compote, Oppi Untrocht ............. , ..... , ......•............ .. ...... 144
Sowl, Oppi Untrocht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Bowls, Paolo De Poll ············--·-· · ···· ········ ····················· 146
Wired Mosaic, Oppi Untrocht .............................•.............. 147
.
"Predatory", Oppi Untrocht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
XIV xv
WHAT IS ENAMEL?
Chapter 1.
Enamel is glass - basically a combina
tion of flux (clear glass) and metal oxides
(for color). All formulas for enamel consist of
a bos;c frit or flux, plus a percentage of metal
oxide lo produce the color. Variations in the
composition of the frit produce an enamel
of varying viscosity under heat and hard
1
ness or brilliance upon cooling. Flint, sand,
or silica, plus lead, soda, or potash and
borax, make up the basic frit. lead, potash,
and soda ore needed for brilliance. The
on,ount of lead delerrnines the hardness or
softness of the enamel. The presence of
Enamel on Stainless Steel Designed by Arne
borax allows the frit to unite easily with the
Korsmo, Norway. Produced by Catherine
metal oxide to produce the color. Borax and
Holm
soda or potash control the elasticity of the (Courtesy Norwegian Information Service)
enamel; loo much borax makes it less elas
tic; loo much soda or potash makes it loo
elastic; :so a proper balance between the
two ore necessary to bring the coefficient of
expansion and contraction of the enamel
close to the expansion and contraction of
the metal during and ofter firing in the kiln.
Bowl - Oppt Untracht. Six Inches in Depth. Sgraffito
Without this agreement, the enamel would
with Enamel Covered Copper Oxides
not adhere to the metal and would crock or
pop off the metal on cooling.
The color of this basic flux or frit depends on
the amount of metal oxide which is added.
This an1ount vc1ries frorn 2 to 4 percent. Spe
cific oxides produce specific colors: oxide
of tin for white (also used to make on opaque
enamel, because without it, the enarnel re
mains transparent), uranium or onti1nony for
orange and yellow, gold oxide for red,
)
manganese for purple, cobalt oxide for ------
blue, copper oxide for green, platinum for
gray, and iridium for black.
17
-
-
..
"'
-
-
I~
-
/1;
• •f..
:r
• f..;. I
, I t. •
ENAMEL PREPARATION ,, , I '• >
Enamel is prepared by placing the rnateri grees cover the metal base and ore there- I •' '1, ' I':.'
·! •
als in powdered form in a crucible and melt fore used most often on copper and bronze, ...~
ing them at a temperature ranging from while tronsporents reach their full potential ~
l 800° F to 2300° F in a smelting furnace until brilliance on the precious metals, silver and
all bubbling action has ceased, indicating a gold, usually over a base cool of trans
complete fusion of the materials in the for parent, colorless flux. Tronsporents are also
---
-
mula. It is then poured in a molten state. used on copper over flux and directly, a nd ---
directly into cold waler where it i1nmediotely con be brilliant on this metal too if they ore
crocks into small pieces, or onto o thick slob high fired from the first application.
of steel where it is left to cool into "cook
ies." The "cookies" must be crushed before METALS FOR ENAMELING
the next step in the process, which is to grind Copper is the most commonly used enam
the enamel into powder. This is done by eling metol today. It is extremely malleable,
placing the " chunks" into o boll mill, or, if a once annealed (heated till red-hot, then
small amount is desired, into a mortar and dashed into cold water), and it can be cut
pestle, and grinding the enamel until it will with a shears or jeweler's saw into a variety
poss through on 80-mesh sieve, used for of shapes, or hammered easily into convex
general application. If the enamel is intend or concave shapes on on anvil or in a mold.
ed for pointing consistency, ii is ground to Bross, gilder's metal, and bronze present
150-mesh or on impalpable consistency. varying degrees of difficulty depending on
Most enomelists today buy enamels that ore the percentage of zinc in their co1nposition.
already ground mechonicolly. Zinc hos a tendency lo boil through a nd pit Arthur and Jean Ames In their Studio,
Claremont, California
the enamel. Silver and gold both toke en
TYPES OF ENAMELS amel well but, of course, ore the most ex
Enamels can be clossifled into the follow pensive metals to use. Pure iron and several
ing groups: Opaque, through which no light steels ore suitable for eno1neling, but when
will poss; Translucent, through which some purchasing them, it is wise to specify that
light will pass; Transparent, through which they ore intended for vitreous enameling.
light may easily poss; and Opalescent, which Steel with a ground coot of on opaque en
vary in translucency and opacity. Opaques, amel already fused on it is finding favor
tronslucents, and opolescents in varying de- today and is readily purchasable.
19
18