Grains of Glass Open Studio brings together Enamel Artists worldwide of every level to share their art and knowledge all under one roof.
One Country & Island at a time...
Argentina, Armenia, Australia,Austria, Barbados, Belgium, Brazil, Bulgaria, Canada, Chile, China, Colombia, Croatia, Czech Republic, Cuba, Denmark, England, Estonia Republic, Finland, France, Germany, Greece, Hungary, Hong Kong, Italy, India, Indonesia Iran, Ireland, Israel, Japan, Jamaica, Macedonia, Mexico, Netherlands, New Zealand, , Poland,Portugal, Puerto Rico, Republic of Georgia, Republic of Korea, Romania, Russia, Senegal,Serbia, Singapore, Slovakia Republic, , St. Johns, St. Lucia-V.I., Scotland, South Africa, Spain, Sweden, Switzerland, Taiwan,Trinidad & Tobago,Turkey, UK, Ukraine, USA, Venezuela, Wales
We can now translate your questions in:
FRENCH, ITALIAN, GERMAN
FRENCH: si vous ne parlez pas anglais vous pouvez poser votre question sur l'émaillage en français dans la boite de discussion ci-dessous. Un membre la traduira en anglais pour les autres membres, les réponses vous seront aussi traduites
ITALIAN: Se non parlate inglese, scrivere la tua domanda in italiano sulla smaltatura in la casella di discussione qui sotto e
un membro sarà la traduzione in inglese per gli altri membri, le risposte sarà anche tradotto
GERMAN: Wenn Sie nicht Englisch sprechen und eine Anfrage über Email stellen möchten, schreiben Sie Ihre Frage auf Deutsch im Forumbox unten
Die Frage wird von ein Forummitglied ins Englische übersetzt . Die Antworten werden für Sie auch ins Deutsche übersetzt werden
Wykonanie pierwszych testerów emalii Schauer.Wycięcie kółek z miedzi 0,5 mm o średnicy 25 mm.Trawienie w kwasie cytrynowym.Mycie szorowanie w sodzie i suszenie na piecu.Nałożenie podkładów z flux.Położenie kawałków folii srebra i emali…Continue
Started by Leszek Adrian. Last reply by Leszek Adrian 25 minutes ago.
I just recently purchased some enamels from Thompsons and decided to get some sheet copper stock from them as well. Their copper is specified ASTM B-170 oxygen free. I mainly work with 16 oz soft copper and have an ample supply of that material. I…Continue
Started by Zan Smith. Last reply by Zan Smith 6 hours ago.
I am a metal sculptor and want to incorporate some enamel accent pieces into my work. I would be primarily useing domed copper sheet in the 2" to 6" diameter range. I am currently experimenting with 24 guage sheet that I torch fire the enamel on.…Continue
Started by Zan Smith. Last reply by Zan Smith on Sunday.
I've just started to experiment with wet packing, and I'm having difficulty with getting a smooth layer for firing -- lots of hills and valleys! I've tried adding more water to spread it around, and while that helps the coating of enamel is still…Continue
Started by Pam Haidenger-Bains. Last reply by Jackie Spencer Feb 18.
I am wanting to make some copper bangles but prefer a seamless bangle as opposed to a riveted bangle. Somewhere I heard that you can enamel over eutectic solder. Is this true? Will eutectic solder hold up and accept a coat of enamel over it? Any…Continue
Started by Delia Stone. Last reply by Candy Smith Feb 16.
Still have yet to mount the hands on the clock, but this was my final product, lots of learning curves with this one. So i am hoping the next one should be smooth sailing in theory.Continue
Started by Shawn D. Grezaffi. Last reply by Leszek Adrian Feb 7.
Hello everyone,I want to ask if some of you have tried and succeeded to gold plate or silver plate, different metal pieces, with silver or gold liquid solutions. I found on internet some liquid solutions, from different suppliers, and I am wondering…Continue
Started by Alexandru I BEREKMERI. Last reply by Gabor Forgo Feb 6.
These featured selections of Enamel Art are from our Members.
Posted by Trish White on March 3, 2015 at 8:30am
Posted by Trish White on February 3, 2015 at 5:37pm
Posted by Trish White on February 1, 2015 at 10:30am
SOON, YOU WILL BE WEARING YOUR SILVER AS CLOTHING!
Save Money, Keep Warm by Wearing Nanosilver Clothing
Indoor heating accounts for about half of the world’s energy consumption, according to the International Energy Agency, so researchers at Stanford University wondered if wearing clothes with imbedded silver nanowires would allow people to lower their thermostats. These clothes would also keep people comfortable in cold weather outside.
The research team’s testing shows that ‘personal thermal management’ clothing might reduce the need for higher indoor temperature settings while eliminating the need for bulky clothing, like sweaters, traditionally used to keep warm inside. The team notes in their research paper: “The metallic nanowires form a conductive network that not only is highly thermal insulating because it reflects human body infrared radiation but also allows Joule [electrical] heating through electricity to complement the passive insulation. The breathability and durability of the original cloth is not sacrificed because of the nanowires’ porous structure. This nanowire cloth can efficiently warm human bodies and save hundreds of watts per person as compared to traditional indoor heaters.”
Yi Cui, the lead scientist, noted that the cloth is breathable and the bendable silver nanowires allow it to be flexible like regular textiles used for clothing. He says it will cost about US$1 for enough silver to attire an entire person and that coated clothing could save the average person up to US$200 annually on heating costs. The researchers say it could take a few years for the product to be available to the public.
I can't say enough about the fantastic "Saw and Solder" tutorial just posted and produced by Master Champlevé artist, Kristin Anderson.
As many of you know, I studied with Kristin at her Florida studio last year and received the best one on one training any artist could ask for.
I am posting once again the article I wrote about my travels to Florida and the time spent with Kristin in her studio, along with my friend, and Master torch firing guru, Chris Hierholzer. Many new members have joined us, and will now be introduced to an exciting technique of Saw and Solder Champlevé invented by Kristin Anderson.
If you have never tried Alligator sausage, Conch Cakes, and Saw and Solder Champlevé in the same week then I suggest you need to take a walk on the wild side.
Two weeks ago, I had the pleasure of flying down to Apalachicola, Florida to personally study with Kristin Anderson, the creator of Saw and Solder Champlevé. I was not new to this enamel technique, as I had taken two workshops with Linda Darty several years before. Linda spoke about learning it from an artist from Norway. When Kristin became a Member of Grains of Glass, I made the connection, realizing that I had come full circle. Destiny was beckoning me, and I knew it was time to go the source and improve my skills.
My partner in crime for this adventure was Chris Hierholzer who along with his wife Melanie met me at the Tallahassee airport. From there, it was a two-hour drive along expansive highways lined with acres of untouched forests, waterways and palm trees. It was all very beautiful, but what I focused my attention on most, was the illusive nocturnal Armadillo - I have always been enamored by those four-legged armored tanks and Dead or Alive, I was not going to leave Florida without a photo, or a dried tail from road kill.
Kristin Anderson was one of my first Featured Artists, and you will find her career story in the past Trivet Articles, but as a refresher, she worked in her early days in Oslo, Norway at the David Andersen A/S Enamel Factory.
The factory had several two story high drop forge machines that used steel dies to strike designs in sterling silver. Those huge machines were the heartbeat of the factory. In the enameling department, the enamellists would receive batches of identical items to be enameled. Almost all the enamels used were transparent, and were wet packed by hand over low relief designs in the silver to produce shimmering effects.
Upon returning to the U.S. Kristin had to re-think the whole champlevé process she experienced, due to lack of having any huge drop forge machinery or the ability to make steel dies. Through trial and error, and a whole lot of sawing and soldering experimentation, she finally reached the peak of perfection in the technique of creating Saw and Solder Champlevé.
I would define Saw and Solder Champlevé, as the joining of two different gauges of sterling silver sheet by means of sweat soldering with hard solder - one 22 g. sterling silver sheet is sawed out into a pattern, the other 18 g. Sterling Silver sheet is used as a back plate – the soldered metal design is then refined with more outside sawing, sanding, the addition of a bale or pin back and then enameled.
Kristin’s studio is enormous and along with an adjacent barn for boat building is surrounded by acres of woods and the Apalachicola Bay. She is an avid sailor and a classic wooden boat enthusiast. We knew we couldn’t start our work until we saw everything including her boat and dock. She handed us hats with mosquito netting that covered us from head to toe, warned us of wandering alligators, and set out along a path bordered on both sides by dense marsh, mosquitos and rattling palm trees. Chris hummed a long, Kristin chatted us up about the history of Apalachicola and I remained on high alert for the sudden rush of open jaws coming my way. Dinner that night was the animal I feared the most – Kristin insisted I try “Alligator sausage on a bun”!
Inside Kristin's enormous studio
Day 2 – Both Chris and I had saved ourselves a lot of time, by arriving to class with several designs sawed out – Our egos lead us to believe that in 3 days time, we would be Champlevé aficionados going home with everything finished. But by the time the day was out, Kristin’s keen eye for perfection had sent us back to our seats more times than we cared to count. She takes no prisoners.
Learning where to apply the solder
In between our groaning, she demonstrated the art of texturing with burs followed by her particulars on sweat soldering. These are the next two steps in the process of Saw and Solder techniques. The texturing of the back plate, brings out the depth and richness of the enamels and offers a more dimensional look to the design. I was amazed at how much the design came alive.
Kristin demonstrating how to use a bur
Lunch was on the water in a great seafood restaurant who’s Chef served up the best Fried Conch cakes with Mango dressing.
I was savoring the experience until Kristin’s grilled shrimp arrived at the table.
This is where the North and South have come to the great divide.
We Northerners eat shrimp the civilized way or so we like to think–
No eyes, no heads, no body parts other then a cute little tail at the end all curled up with a lovely fresh orange color. In other words, we lose ¾ of the shrimp. What was set down on a platter before me, were Sea Monsters- they had long bodies, fins, with eyes popping a ¼ inch from their heads. Chris and Kristin just dove right in! Who knew?
Day 3 – Back to the texturing burs, and soldering – with Chris running circles around me with his huge amount of skill in torch firing and texturing. Once I caught up, Kristin gave us a lesson in her use of Nitric Acid to remove firescale from the sterling silver before enameling. I strongly suggest a hazmat suit and good ventilation. This process is not for the “living Green” earthlings.
Nitric Acid must be covered as the fumes are extremely toxic, and a fan and exhaust should be right over the sink and away from your face. Once you dip and swirl your piece in the Nitric Acid, you want to immediately put it in a dish of water with the faucet running over it. This dilutes the Acid immediately and stops the acid from eating into your metal. Once that is accomplished, you want to dry the metal, which will have a frosted cast. It is now ready to enamel.
Lunch & Dinner – were more Southern delights – Conch cakes, sea monster shrimp and fried crab claws with hush puppies.
Day 4 – The last day – Enameling, grinding, and polishing –
Kristin demonstrating how to use a spatula with her Iris
Kristin uses a spatula to apply her enamels and a cloth to absorb the water. A totally different technique for Chris and I, and one that I will certainly continue to follow –I found the spatula technique was a smoother approach to picking up the enamel as opposed to a brush–and what was most surprising is that Kristin could get into the smallest spaces which only a brush could go. I was very afraid to press the cloth onto my wet enamels for fear that all that good work would lift up, but it did not – and Kristin also showed us how to tap the sides of the metal to smooth out the wet enamel and once the water was drawn out, we used the spatula to lightly press down the enamel.
We learned so much in those 3 working days that we both did not have enough time to write as many notes as we would have liked, but thanks to Chris and his over 200 photos, I think we have it all documented.
Did I see an Armadillo?
No, but when I reached the airport, there was one waiting for me at a gift shop by a well-known Mexican artist who carves and hand paints his own-
and now you know the rest of the story.................
Many thanks to Kristin for her "brain dump"
If you would like to contact Kristin for classes go to:
Halstead is one of North America’s leading distributors of jewelry supplies. This year marks the 42nd anniversary of the company and the 10th annual grant award. Halstead specializes in wholesale findings, chain, tools and metals for jewelry artists
It is that time of year again! Halstead is calling for entries to the annual Halstead Grant, which will be awarded this summer. New jewelry artists working primarily in silver are invited to apply. The winner will receive $5,000 in cash for their business start-up, $1,000 in jewelry supplies, and recognition in the industry. Applications are due June 9, 2015.
Eligible jewelers should have launched their businesses within the last one to three years. All design techniques are welcome including metalsmithing fabrication, casting, metal clay, wire work, or beading. The competition is open to US citizens with studios in the country.
Complete application details can be found on The Halstead Grant website. Candidates are required to submit a design portfolio, resume, and answers to several business planning questions.
Exhibition: 8 – 13. April 2015
Opening vernissage: 8.April 2015 18:00 – 21:00
Opening hours: Wedn.,Thurs.,Fry., 11:00 – 19:00
Sat, Sun. : 11:00 – 17:00
Address: Kronengalerie, Froschaugasse 3, 8001 Zürich, Switzerland
John Michael KOHLER ARTS CENTER - Sheboygan, Wisconsin
The John Michael Kohler Arts Center is now accepting applications for 2016 residencies in its world-renowned Arts/Industry program. Hundreds of emerging and established visual artists have benefited from residencies in studios on the Kohler Co. factory floor since the program’s inception in 1974.
Attached is a press release with details about the program and how to apply.
Please help us share this information with artists working in all media, as this program accepts applications from all disciplines. You can find out more about Arts/Industry at http://www.jmkac.org/index.php/artsindustry-residency.
Let me know if you have any questions or need more info.
Media Relations Coordinator
608 New York Ave
Sheboygan, WI 53081
Meridith McNeal, Alexander Ney, Joanne Scott
January 9 - February 8, 2015
Reception: Friday evening, January 9, 6-9PM
Howard Eisman, Fred Hatt, Arlene Morris
February 13 - March 15, 2015
Reception: Friday evening, February 13, 6-9PM
Without / Color is a two-part exhibition featuring six artists. Three artists, Meridith McNeal, Alexander Ney, and Joanne Scott, have executed work void of color. Three artists, Howard Eisman, Fred Hatt, and Arlene Morris, have used a palette rich in color for their work.
The initial concept for these consecutive exhibitions was to explore the impact of color, and lack thereof, in an environment. Figureworks, an intimate gallery, quickly embraces whatever is placed within it and though there have been nearly 100 exhibits in this space, what has transpired from this installation is far more powerful than what was envisioned.
The first of this two-part series are works without color. Meridith McNeal has created a series of watercolors entitled Liberty Clouded. The Statue of Liberty has been shrouded in fog and rain, addressing the anguish of false accusation and the gross failure of the American judicial system. Joanne Scott has been figure drawing from life for over 50 years. Her delicate and beautifully rendered pencil drawings of female forms in repose blur the lines as to whether her subjects are relaxing, sleeping or perhaps deceased. An oversized pair of Alexander Ney’s lovely, white terra-cotta ravens, ominously riddled with patterned holes and intense expressions, guards the work with their sculptural presence.
What makes this particular exhibition so powerful is that it coincidentally opens as the country is in great unrest. This exhibition was designed around space and color, not any political or social agenda, yet these three artists possess such purpose and strength in their imagery that a collective message clearly addresses our current climate and serenely eliminates a color barrier while doing it.
The exhibition of the next three artist’s work will be installed in February and the introduction of color and content will inevitably evoke uniquely unexpected responses.
Thank you for the update Vivek - it looks like it was in a beautiful area, and I wish I was there!!!
I am first and foremost a designer of jewelry living in Warsaw, Poland. From childhood up until now, I have always painted for pleasure, and never was interested in taking the art to a professional level, or to become an enameling artist.
My close friend is an excellent classical goldsmith and encouraged me to also become a goldsmith. In 1998, I completed jewelry school and to extend my knowledge and skills further, I began studies at the Faculty of Textile and Fashion of Strzemiński Academy of Fine Arts in Łódz specializing in jewelry design.
In 2006, I completed a Bachelors Degree with honors followed by a Masters in Art with honors in 2011. I had a chance to study with Prof. Andrzej Szadkowski in his jewelry studio and at the same time I enrolled in Prof. Jarosław Chrabaszcz’s workshop painting class.
My first encounter with enamel dates back to 1999, when I was doing a specialised jewelry course with completely different techniques. The instructor conducting the course showed me a beautiful Russian powder compact with a blue guilloche enamel.
As I looked at it, I knew enameling art would be my artistic way.
I spent a few years searching for knowledge but it turned out to be unusually difficult. I could not find any professional literature, no enameling teachers or even enamels themselves. I must admit that in fact I taught myself everything there is to know about enamel art by trial and error approach, being helped along the way from books and articles in Glass on Metal magazine.
At first I was experimenting with enamel trying to find my own style. I was mainly interested in color element, it’s malleability, chiaroscuro effects and the interplay between various components and the base metal. In the initial phases of my initiation into enamel, I was drawn to cloisonné and plique-á-jour techniques. Then I discovered Bass-taille and Ronde-bosse and later moved on to Moriage, Musen, and Ginbari, which I have utilized ever since. 2006 marked a real watershed in my enamel education when I flew to Barcelona, Spain and studied at Escola Superior de Disseny i d’Art Llotja under dr Nuria Lopez Ribalta and Andreu Vilasis. Both are true masters and fantastic teachers.
About five years ago, I started painting enamel miniatures. From my perspective it is one of the most challenging of all enamel techniques, not only time consuming and technically complicated but requiring a huge dose of painterly knowledge as well.
Quite often after firing a piece in a kiln, the colors turn out to be different from those intended and the final result can neither be corrected nor masked. What is more, even the smallest defects of base enamel such as pits, holes and cracks can completely render a portrait miniature worthless.
My jewelry as well as miniature projects are the result of keen observation, analysis, associations and interpretations but above all the desire for harmony and contrast. In my approach to jewelry designs, I particularly value abstraction, geometry and accent.
In my conceptual stages of designing rough sketches are always a good starting point from which I select a few promising ones to work on and further develop. Inclusions of color is always a must in my projects on paper (miniatures) or graphically using computer programs (jewelry).
On the other hand, my approach to painting miniatures is completely different. In my miniatures, I tend to prefer elements of realism, impressionism and color. It is a very dynamic process during which I constantly try to modify my style of painting in order to emulate the techniques of old masters.
I really admire and value the painterly styles of Mary Cassat and Joaquin Sorolla y Bastida. I also draw inspiration from the likes of Jaques Bordier, Pierre II Huaut, Jean Petitot but mostly from Nicolas Soret whose portrait enamels have special significance to me. Historical miniatures are not my favorite time period to paint, but I often paint copies of portraits for learning purpose and I admire the details of them so much.
In the future, I would like to introduce my own ideas to this technique. I feel the most vital and important element of a portrait is the expression of an emotion.
Today, I am still learning from professional enamelers, among them are dr Nuria Lopez Ribalta (her enameling knowledge is huge and impressive) and Pál Toth ( an excellent enamel painter and graphic artist and member of Grains of Glass).
Promotion and selling are a challenge for the artist. I do it by galleries and private commissions. I also think that participating in contests and exhibitions are vital and valuable. Fortunately, several of my enamel works have been awarded. I try to promote the art of enamel by writing articles for Polish jewelry magazines, being aware that it is not a part of the artistic mainstream, at least in Poland, where it is represented by a handful of goldsmiths and enamel artists. The lack of time prevents me from holding workshops and live demonstrations, but I am always giving of advice to my less experienced colleagues.
Please visit my website for a more in-depth study of my work-
Hello Former FSG members,
Join FSG now and your receive 3 months of membership free!
Take Advantage of Fabulous Benefits
You will receive a full year of spectacular benefits, including priority registration, a discount of 25% or more on classes and workshops. Our newsletters, as well as back issues, are always available on-line. Display opportunities, scholarships and member-only emails are just part of the fun.
Receive Member- Only Emails -
Artists Opportunities emails are sent monthly with listing of competitions, shows, internships, and galleries looking for new work. 5 members this past year let me know that they had placed in competitions that they had learned of through these FSG member only emails. This is for Members Only, so don’t miss out! You will receive these through the end of 2015. Here is a sample:
Click here to joinl: http://www.fsg4u.com/join-fsg.html (paypal is available)
Artist Opportunities from FSG ~
The Northeast Chapter would love to see everybody at Winter Workshop ... but the truth is, we only have a few spaces left. Don't miss out - check our website for information and a downloadable an application at www.fsgne.com
Cloisonne Enamel with Linda Darty,
Stoned & Cuffed (hydraulic press) with Joanne Hernandez,
Woven Metal with Jeanie Pratt (Grains of Glass current Featured Artist),
Pewter Fabrication with Lisa Slovis Mandel,
Line + Link (forging design + creative chain links) with Paulette Werger.
Questions? Email us firstname.lastname@example.org
FOR THOSE OF YOU unfamiliar with this technique of Enamel Art
PLEASE allow me to re-introduce Master Artist
Mauricette Pinoteau is an enamelist living in Limoges. She specializes in relief technique, she learned this technique at the very famous " Atelier Camille Fauré "in Limoges ,during the 70's .
Mauricette is one of the only two living enamelists that studied with the Masters the secret of the relief technique.
Today she masters this almost magical style of enameling wich seems to defy the logic of enamelling.
She works and sells her work in her own gallery in the same town of Limoges.
Mauricette has provided us with a file to watch how this technique is done.
Also, go to Notebook 1, "Fauré Techniques" to read all about Camille Fauré and his studio.