Grains of Glass

An open studio for enamel artists worldwide

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, Cyprus, 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



Latest Activity

Leszek Adrian replied to Yuki's discussion cloisonne enameling general questions
"Hi Edmund. I have a question. Are you a silver plate impose counter enamel? Leszek"
7 hours ago
surender singh commented on surender singh's photo


"thank u so much sir"
13 hours ago
Trish White commented on vivek das's photo

copper sculpture 2

"Vivek, Can you tell us more about how the progress works to achieve this statue- the gauge of metal, etc. not to mention the hours!!"
13 hours ago
Trish White commented on vivek das's photo

copper sculpture

"This is an enormous undertaking and just incredible- please keep us updated on the progress!"
13 hours ago
surender singh commented on surender singh's photo

Picture 31 aug 055

"HI, Subodh Kerkar a renowned Indian artist specialty for his big installations.For the past 20 years he has experimented with different media creating a niche for himself, especially in the field of land art and conceptual art. Subodh specializes in…"
13 hours ago
Trish White commented on Dianne T. Foreman's photo

Fold formed enamel bowl

"These are very cool - what gauge copper do you use for the fold forming?"
14 hours ago
Edmund J. Massow replied to Leszek Adrian's discussion The first meeting with transparent enamel. Test.
"Dear Adrian,in this thread I have deliberately not used any own designs. They are parts of my collection and date back from the 1920-1930 years. So it is no problem, if you want to utilize one of it. Edmund"
16 hours ago
Anne Mc commented on Anne Mc's photo

Wild Seas bowl

"Ah, thank you so much for your kind comment :0)"
Dianne T. Foreman posted photos
Dianne T. Foreman posted a photo

2015 Pendant

Hammered Brass, crimped copper transparent enamel
Gabrielle S Castonguay posted a discussion

I need help on enameling on 10 Karat white gold.

Hello,I need to enamel a red transparent on a champlevé piece made of 10k white gold. There is a 12% nickel in the alloy composition of the white gold. Can anyone help me with this? I intend to use lead bearing enamel either Soyer or old Thompson enamel. I have never enameled on white gold before, should I expect any specific complication because of the nickel concentration?I also don’t know if I need to use a flux (clear enamel) before and if so, what should I use?Thank you,GabrielleSee More
Trish White commented on Anne Mc's photo

Wild Seas bowl

"I can't see it, but you must have some great pull through in the inside with the Leaded bubbling through the unleaded - its a beautiful bowl - "
Profile IconCatherine Witherell and Gabrielle S Castonguay joined Grains of Glass
Leszek Adrian replied to Yuki's discussion cloisonne enameling general questions
"Thank you, Edmund. I'll do as you wrote. Sheet 0.7mm (Ag 999) + giloche + enamel. tests on steel 312L Pozdrawiam' Leszek"
Leszek Adrian replied to Leszek Adrian's discussion The first meeting with transparent enamel. Test.
"Hi Edmund. I thought a long time about what you wrote. I have a little experience, and I have a lot to learn. I love stick cloisonne wire. Now I want to make samples according to your advice. You showed a beautiful horse. I would like to make a…"
Edmund J. Massow replied to Yuki's discussion cloisonne enameling general questions
"Hallo Adrian, To complete my answer to your question. For jewelry, for example earrings up to 3x3 cm I utilize fine silver sheet of 0, 5 mm thickness, for brooches or so up to 5x5 cm, I produce from sheet of 0, 7 mm thickness. To get more…"


We can now translate your questions in:


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


cloisonne enameling general questions 11 Replies

Hi guys, I am new to cloisonne, but I am planning to make my first cloisonne enameling watch dial for my fiance. my questions are:1. I read the tutorial in here…Continue

Tags: enamel, cloisonne

Started by Yuki. Last reply by Leszek Adrian 7 hours ago.

The first meeting with transparent enamel. Test. 33 Replies

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 Edmund J. Massow 16 hours ago.

I need help on enameling on 10 Karat white gold.

Hello,I need to enamel a red transparent on a champlevé piece made of 10k white gold. There is a 12% nickel in the alloy composition of the white gold. Can anyone help me with this? I intend to use lead bearing enamel either Soyer or old Thompson…Continue

Started by Gabrielle S Castonguay yesterday.

Lead and lead free enamels 4 Replies

Hello, how can I use lead and lead free enamels in the same piece?  Can I layer lead over lead free, and/or lead free over lead enamels?Thank you,Mary RoseContinue

Started by Mary Rose. Last reply by Mary Rose on Wednesday.

Guilloche 3 Replies

I have been doing some guilloche samples with a gentleman here in Ontario who has three rose engines. He made me some samples and I tried a few things (wet packing as tight as I could and sifting and vibrating alternately) but neither method…Continue

Tags: help, enamel, guilloche

Started by Catherine Crowe. Last reply by Catherine Crowe Apr 7.

Mortar and pestle 9 Replies

Hi -A newbie here now wanting to grind 80 mesh (the only kind I've used so far) to 100.I assume you grind in mortar and pestle then sift through the desired screen size.Looking on the Thompson Enamel website the mortar and pestle would cost approx.…Continue

Started by Jennifer Hughes. Last reply by Edmund J. Massow Apr 7.

Enamelled Watch Faces 5 Replies

Hi AllHi all. I have been asked to try and make a watch face like these antique ones…Continue

Tags: faces, watch, enamel

Started by Catherine Crowe. Last reply by Leszek Adrian Apr 6.

ASTM B-170 Copper 4 Replies

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 Mar 31.

Kujaku enamels and old suppliers of now discounted yellows from Schauer and Milton bridge 1 Reply

Hi, I am looking for stocks of enamels no longer available. If anyone has some, they want sell, or know where I can source some, please let me know.I am interested in kujaku Japanese enamels and discontinued yellows, ambers and golds from schauer…Continue

Started by Jean Wilkinson. Last reply by kairi kubja Mar 27.

Scalex use 4 Replies

I'm having difficulty in getting Scalex to work consistently.  I paint it on copper where I want to avoid oxides, put enamel on the other side, let it dry and fire.  The scalex is supposed to flake off after cooling (with no oxidation), but…Continue

Started by Jamie. Last reply by Kaleigh H Mar 25.


"Art is not what you see but what you make others see" Edgar Degas


These featured selections of Enamel Art are from our Members.


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Blog Posts

Enamel Fine Art

Posted by Advocates for Fine Art Enameling on April 12, 2015 at 9:30pm


Posted by Trish White on April 8, 2015 at 7:00am

Rogan Art - A rare art form from India!

Posted by ritu sangal on April 4, 2015 at 3:16am — 3 Comments

TORCH BASKET - who sells it?

Posted by Trish White on April 3, 2015 at 8:29am — 1 Comment


Posted by Trish White on April 1, 2015 at 12:00pm — 1 Comment

Enameling Society Conference - Who is going?

Posted by David Wendelken on March 29, 2015 at 8:11pm

INDIA - Workshop with Kana Lomror- April 4, 2015

Posted by Trish White on March 27, 2015 at 4:30pm

Ricky Frank Class in Fayetteville, NC

Posted by David Wendelken on March 25, 2015 at 10:45pm

ON THE TRIVET.... insights and information

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. 

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. 

**Images of past grant winners, logos and graphics are available upon request.




BY Howard Eisman



My first exhibit as an enamelist was an organized show on the streets of Greenwich Village. Some judges came by and said that I merited a prize (well! hurrah), but, oh, wait, enamel, glass on metal, was a craft and thus ineligible for a prize as art. This seemed crazy as I was showing framed abstractions hanging on a wall.

I have since had a lot to do with enamel groups, societies and guilds, and it gradually occurred to me that such groups had a tacit view of the field of enameling not that different from those unsophisticated judges. Most enameling being done is jewelry and craft objects, and, thus, enamel as fine art gets much less attention from enameling groups.

I am trying to develop an organization to promote enameling as fine art or expressive art, art which hangs on the walls of museums.  Thus, I am proud to be the founder of Advocates for Fine Art enameling (AFFAE). Advocates for Fine Art Enameling, Inc. is a not-for-profit organization founded in 2014.

The purpose of AFFAE, Inc. is to support an appreciation for the the very special characteristics of vitreous enameling in the production of fine art.  

AFFAE, Inc. will encourage creation and exhibition of expressive art sculpture and wall hangings that are recognizable as primarily vitreous enameling.  

We will work to inform the general public about this medium and encourage artists to use vitreous enameling for their own expressive art.  

Fine art is such a small part of the enameling field, we think the effort can use all the support we can muster.  

Howard Eisman



Virgin Islands

I was a collector more than a creator in my early years . I grew up in Northampton, Massachusetts, and  spent weekends combing flea markets,  antique stores and garage sales, losing myself in the uniqueness of materials, color and design in old things, be it handcrafted or manufactured. For one unbelievable summer I worked in my favorite local antique store - a multi-level maze with numerous antique vendors. During this time,  I was also studying sociology at Smith College, attempting to satisfy my insatiable curiosity for the human condition. Decades later I would be combining these two interests to make wearable automata--a word I had never even heard of back then! 

     I believe in signs and following bread crumbs, even if at the time you have no idea why you are doing it. I look back and remember that around this time, I had a random obsession with always wanting to wear a pair of lizard earrings. But not just any lizard earrings. They could only be made from vintage pins, so they were always mismatched, and if I lost one, I would be on the hunt for another to have it converted by the local goldsmith. I also had a secret dream of living on a tropical island. By strange coincidence, not long after I graduated from college, I found myself surrounded by several species of lizards on the tiny Caribbean Island of St John, while dating a fellow who had a friend working there.  Do you think I returned home after this week-long vacation? What would you have done?

     For the past 21 years, the little island of St John has been my  home, where I raised a  wonderful son.  Along the way I worked at a well known resort,  volunteered for a year at a local archeological dig, and worked as a production goldsmith in a high end local jewelry store. Training there was very specific--simple soldering, grinding sprues , hand polishing as well as gemstone and sales knowledge.  Several years into this job, I set up a torch at home and started making my own work and teaching myself more complex soldering, encouraged by reading Lapidary Journal and Ornament magazines on my lunch hour at work. My husband was very supportive of my living room studio! I became curious about new techniques and saved up for one year to buy a kiln, enameling supplies, precious metal clay and about 6 books on those subjects,  proceeding to make mostly very tiny sea life-inspired jewelry.  

     It was a profound sadness that drastically altered the direction of my work several years later. I made my first automaton, one month after my son's birth father passed away.  It was an expression of grief and pain as well as a celebration of love.  It was an epiphany for me that a simple movement caused by turning a crank could convey such a well of personal emotion at the same time as addressing difficult universal themes, all in a single piece of jewelry.

     With this new format available for expressing my inner world, I read as much as I could about automata and taught myself more techniques (stone setting, etching, electroforming, keum boo, press forming, tap and die) and looked at incorporating found objects to add new levels of meaning.  

     Honestly, I've been less influenced by people than I have been by objects, being essentially self-taught. I collect early-to-mid 20th century mechanical toys and gumball charms, with a special spot in my heart for the gorgeous old wind-up toys, be they tin or composition. I spend hours looking at old things on ebay and Google. My use of enamels has always been a way to evoke these by-gone eras, whether it be an abandoned amusement park, mid 20th century neon, an arts and crafts era vending machine or those great tin lithograph designs on vintage wind-up toys. I've started with decals and want to add them to every thing I make! 

     I've only just begun exploring the possibilities with enamel-- it's such a versatile medium, and so vibrant, with just enough constraints to make it excitingly challenging.  Add the mechanics of automata to it and it borders on being too challenging, which is usually where I like it. I'm most satisfied after completing the projects that make me throw up my hands and say "I'm never doing this again!"



FSG is pleased to announce that the week long workshop with room and meals included in the price is set for Oct. 5-11!

Modern Masters at Wildacres October 5 – 11, 2015.  Classes are 5 days and start with dinner on the 5th. for more details.


Learn Torch Control and Fusing of Hollow Forms with Jenny Reeves

In this project based class students will learn to fuse a variety of surfaces including: wire, granules, wire-to-sheet, sheet-to-sheet, hollow forms, bezels, tubing and more as they create rings, earrings, a bead, and a pendant featuring granulation and other surface embellishments.  These projects will help you to master torch control and open design possibilities with fusing. 

We will be working in class with 935 Silver because it is a tarnish-resistant alloy of sterling silver that fuses readily, which makes it easy to fabricate without solder and ideal for granulation.  Students are encouraged to bring stones for their projects and other metals to combine with 935 Silver.   The texturing principles taught in this class using silver apply to high-karat yellow gold (18K +,) 950 palladium, copper, brass, bronze and more being used with the silver.  Each metal produces a slightly different texture and different colors when patinated for a variety of cool "painterly" effects.  You will develop your skills in 935 Silver first as the texture requires a fair amount of metal & the learning curve on gold can be expensive!  The ease of 935 Silver will have you singing its praises and might be a game changer in your work. I will provide designs for all projects, students will be able to modify/customize most if they choose.  I will bring loose faceted and cabochon gemstones for students to purchase if they don’t bring their own.   Students should be familiar with a torch and soldering. A materials kit and lab fee of $135 required prior to workshop.


Paint the Town Red Gold! with Chris Darway

This workshop is going to cover multiple uses of Aura 22 plus a slightly different fusing technique and copper etching using super pickle. Think liquid KeumBoo on copper, sterling, fine silver and glass. It is fast, consistent, and liquid Aura 22 goes a long way. Chris has developed a technique to fuse gold to copper using candle soot. This produces a material which can be soldered on, formed, rolled, etched and enameled.

            If you are unfamiliar with Aura 22 it is part of Mitsubishi’s family of metal clay.  This remarkable liquid (containing tiny particles of 91.6% pure gold and 8.4% pure silver) requires only a torch at relatively low temperatures to fuse to glass, or non-ferrous metal and produces a 22K a gold alloy.   There are several jewelry projects we all will do in order to become comfortable with the techniques. The fibula brooch shown with Aura22 on glass is just one of the exciting projects we have planned.   I encourage students with beginning metal skills to sign up for the workshop. These techniques are very forgiving but produce very professional results.  A materials kit and lab fee of $30 required prior to workshop.



Enameling Made Easy with Ricky Frank

You don’t need to be afraid of color! Discover you inner artist as you play with the magical medium of enamel.  We’ll begin exploring the techniques and principles of cloisonné (using wires) and basse-taille (transparent enamel over textured metal).Then we’ll break all the rules and develop an intuitive, collage-like approach to adding color. Experiment with layers of opaque, transparent, and opalescent colors. Add gold, silver, and copper foils. Drill through layers to create patterns and textures. Add beads, balls, and threads of enamel color. Work as precise or loose as you like. You will push your creative boundaries to new horizons as you develop your own unique and personal color vocabulary. For students of all levels. A materials kit and lab fee of $40 required prior to workshop.



Windows of Nature with Juan Carlos Caballero-Perez

            This workshop will focus on the creation of jewelry and metal structures that draw stylistic motifs from nature. Students will collect and gather samples from nature and design and create paper patterns using what we gather. Utilizing forming applications and fabrication techniques for thin metal and wire, we will construct small objects and structures for jewelry making. Traditional forging techniques and the rolling mill will be used to create rapid forging effects to complement the final composition as well. Also, students will explore stone setting and various finishing techniques in the creation of the work.  All skill levels. A materials kit and lab fee of $35 required prior to workshop.



Animated Adornment: An Introduction to Kinetic Jewelry Design with Kirk Lang

From rings to earrings, this workshop will explore the design, development and construction of kinetic wearables. An emphasis will be placed on the theory and mindset required to create movable parts on a small scale. A wide range of riveting techniques will be covered along with instruction on how to use micro taps, dies and more. Although this is an introduction class, it is suitable for jewelry artists of all skill levels. Demonstrations and personal instruction will be provided, so if you already have ideas in mind, please bring them with you. Students should expect to leave class with 1-3 pieces of finished kinetic jewelry.

More details at 

Jean Marie DeSpiegler

Executive Director

Florida Society of Goldsmiths 




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



My Pansy after texturing with 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.

Chris breaks out of  the starting gate with soldering!

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


Chris's Zinnia



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.


Gabor Forgo


John Michael KOHLER ARTS CENTER - Sheboygan, Wisconsin

Good morning,

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

Let me know if you have any questions or need more info.

Best regards,



Patricia DuChene

Media Relations Coordinator

608 New York Ave

Sheboygan, WI 53081


920.694.4525 (direct)

920.458.6144 (main)














$1.00 is all it takes to support the web site.
Thank you for your contribution!




GOLD - $1,189.20
PLATINUM - $1,226
SILVER- $16.39



- Check the WORKSHOP tab for links to the schedules of more artist workshops in your area….



April 18 – 19, 2015, Callenwolde Fine Arts Center, Atlanta, GA. Some Like it Hot: Torch-fired Enamels.

May 29 – 31, 2015, Pullen Art Center, Raleigh, NC. Some Like it Hot: Torch-fired Enamels.

June 1 - 6, 2015, Tennessee Tech/Appalachian Center for Craft, Cookeville, TN. Enamel & Setting as Equal Partners.

June 18 – 20, 2015, The Grass Roots Gallery, Rochester, NY. Enamel & Setting as Equal Partners.

July 26 – 31, 2015, John Campbell Folk School, Brasstown, NC. In the Line of Fire: Torch-fired Enameling.

August 15 & 16, 2015, Fuller Craft Museum, Brockton, MA. Some Like it Hot: Torch-fired Enamels.

August 21 – 23, 2015, Littleton Studio School, Littleton, NH. Enamel & Setting as Equal Partners.  (full)



March 21-22 

Granulation on Enamel

Metalwerx, Waltham, Ma



MAY  28-31 Mendocino Art Center

Mendocino, CA




APRIL 13-17  

Creative Side Jewelry Academy, Austin, Texas



May 9-10

Snow Farm, Williamsburg, MA



June 22-28


Jean Tudor

Raku-fired enamels

June 22nd-28th, 2015

The Grunewald Guild, Leavenworth, WA

For more information:

Grunewald Guild, Leavenworth, WA





March 21, 22,23, 2015

Cloisonné Workshops






A Quest for the Best

The 33rd Annual Smithsonian Craft Show 2015
April 22, 2015 to April 26, 2015
National Building Museum, 401 F St., NW, Washington DC

TIME OUT......

Places to go-People to see!





SNAG Conference Boston - May 20-23, 2015 
Powder Coat Necklace
Michael Dale Bernard

The Society of North American Goldsmiths is hosting their 44th annual conference right here in Boston.  This event presents an exciting selection of speakers, exhibitions, and demonstrations over 4 days.  In conjunction with the conference, Metalwerx will host an Open House as part of the SNAG "Gallery Hop" on the afternoon of May 23rd, and scheduled three workshops:
May 16 & 17 - Weaving with Wire with Munya Avigail Upin
May 18 & 19 - Powder Coating with Michael Dale Bernard
May 24 & 25 - Gold Damascene on Titanium and Steel with Brian Meek Opportunities



Pasadena Bead and Design Show Brochure

View and print the new brochure in color (PDF 14MB) or in black & white (PDF 6.4MB).

Pasadena Bead & Design Show begins 10am Thursday, January 15th, and goes through Sunday the 18th.

Details on workshops here and exhibitors here.

300 booths, galleries, merchant displays showcasing beads, jewelry supplies,  jewelry, gemstones, clothing, textiles, one-of-a-kind works of art, and vintage items.

Fast and easy online attendee registration register online now for expedited entry. | (530) 274-2222

Copyright © 2015 Garan-Beadagio®, LLC. All Rights Reserved.



Watauga Festival Center
426 Watauga Rd.
Franklin, NC
The Newark Museum
49 Washington St.
Newark, NJ
A permanent exhibition of masterworks from the museums's extensive jewelry holdings dating back from the early 1700's to 2011.



Liza Nechamkin -

hand spun copper and fine silver bowls - hand made chasing tools.


 Medium temp/medium expansion

Most colors in stock 10% discount to GOG Members
 if you buy from Jean!

A donation will be made to GOG with every purchase.

Use Etsy code gog10 at checkout

Ships in 24 hrs

Contact: Jean Van Brederode, Thompson distributor

Phone: 717-919-7444




A dvd using a rare and beautifull technique that chris hierholzer has developed using sgrafitto with fine gold foil using a torch to fire instead of a kiln. the enamel is wet packed. it has lots of intructional and easy to read text and limited audio with optional torch set ups at the end.

 Torch firing is a perfect way to fire enamels for those with limited space and can't afford the high cost of a kiln.

click on: Ganoksin

or order through:

 coral shaffer
enamelwork supply co.
1 800 596 3257
1 206 525 9271



Thompson's Vintage

Milton Bridge


Mention Grains of Glass when ordering-


Pam East's Enameling on Silver Clay DVD


Hauser & Miller Inc.

Hauser and MillerBi-metal Sheet and Discs


A layer of 18k gold alloy with a rich yellow color or 22k gold alloy with a bright yellow color is bonded with sterling silver to form two distinct surfaces. The 18k gold layer is similar to that of most gold-filled products, while the 22k is two to three times thicker than gold-filled, giving it more workability. Surface treatments, such as engraving, scraping, folding, and twisting, can be used to accent the two surfaces.


Contact us: Hauser & Miller, 1-800-462-7447,


A Safe Way to Pickle!




DVD by Jim Lawson

Lapidary Journal


2012 Jewelers Guide to Treated and Created Gems





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