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, 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, 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
I have been using small plastic jewelry baggies to put each enameled piece in for travel.This entails hours of set up time when you sell lots of earrings and small pins, etc.I am brainstorming and sketching to build a system of pockets with felt…Continue
Started by lindsey owen. Last reply by Kathy Johnson 6 hours ago.
Hello, I am seeking a bright red that does not darken. Any product, transparent and/or opaque. I have used Thompson's Orient and Woodrow Red but would like brighter reds. I understand that red can be a difficult color.Thank you,Mary RoseContinue
Started by Mary Rose. Last reply by Mary Rose Aug 9.
Dear all, could anyone kindly advise me if it is possible to enamel on high grade stainless steel (316L)? From what I understand it may be possible with high expansion enamels, but I do not who produces these or where to source them? Does anyone…Continue
Started by Vincent. Last reply by Judith Junger Aug 9.
I am a professional enameller in London and commissioned a large size Kiln from Northern Kilns to be made and installed for me a few years ago. Sadly I have to give this up now for personal reasons.It is therefore now for sale.It is…Continue
Started by Barry Lawrence Sack Aug 5.
Trish, Your recent call out to artists in Germany is a great idea. The next time I travel, I will let you know so you can send a call out for me. On the other hand, I would love to have a visit from anyone visiting from elsewhere. Regards, Jude LobeContinue
Started by Jude Lobe Aug 4.
Hello everyone, I have recently acquired un Uhlig U24 muffle kiln which I am very happy about. However, it has some enamel damage on the bottom of the ceramic enclosure where the previous owner has been a little careless. The damaged area…Continue
Started by Vincent. Last reply by Francoise Zainal Jul 29.
Hello everyone, I am teaching myself torch fired enameling, and have run into a problem with applying some gold leaf (leaf versus foil). I can't seem to get the leaf to let go of the paper which it came on using binder diluted with water.Is there…Continue
Started by Alicia Dolan. Last reply by Alicia Dolan Jul 18.
Hi everybody, my name is Fernando and I live in Spain. I came to enamel from the etching and the sculpture world. I'm just starting, my first attempts were with torch firing and now I have a kiln. I have done some test with little pieces to see my…Continue
Started by Fernando Ramos. Last reply by Cathy Hazel Jul 6.
These featured selections of Enamel Art are from our Members.
Posted by Trish White on August 18, 2014 at 9:37am
Posted by Trish White on August 10, 2014 at 4:30pm
Posted by Trish White on June 10, 2014 at 6:30am
Posted by Trish White on June 5, 2014 at 4:16pm
The Science of measuring time and the art of Making timepieces!
Ever since craftsmen have created clocks, enamel has been used as a decorative art form. Between the 17th and 20th century, both enameling and engraving were techniques employed by artists. The brilliance of colors, hardness of the surface, and the variety of patterns were highly appreciated by the discerning buyer.
Over several hundred years, many beautiful pieces have been collected and exhibited in public and private collections in Switzerland ( Musée international d’horlogerie, La Chaux-de-Fonds, Musée Vacheron Constantin, Genéve, Patek Philippe Museum, Genéve,Collection Ulysse Nardin, Le Locle, etc.)
Clocks are magical devices with precise small parts of different shapes and functions. Separately they are not significant, but together they are an orchestra of sound and movement and a whole lot of art and craft.
My approach to enameling clocks is a special one. They should be attractive as well as functional. As a lifelong enameller, I have never ceased to be fascinated by the intensity and brilliance of colors; the choice of techniques; and the fun of shaping metal into any form I choose. I began with an idea of making a desk top clock with the dimensions of 10x10x25cm. After drawing the design on paper, I realized I was facing a few obstacles. The first, being the limited space inside my kiln. The second was my lack of advanced metal-smith experience and jeweler techniques. I considered constructing several small parts combined into a larger body. This construction could consist of metal only ( copper or silver to be enameled ) or metal together combined with wood.
Wood housing before enamel side plates are mounted
Construction with wooden ground plate
The third obstacle was how to hold all the parts together. Soldering was not an option due to the size of the kiln, but the use of screws, nails, rivets and chemical bonding (glue) seemed the right choice. I made a wooden ground plate and support for the clock face so that I could fasten the enamel parts. Next, I constructed a complete wooden housing for the clock with appropriate opening for adjustment.
Next, was choosing the type of mechanism. The ancient clocks were all mechanical, of course. Not being a professional watchmaker this was not an option. I chose a quartz movement that is small, precise, non- expensive, available and requires only a 1.5 v battery.
These are the steps I used to approach the making of a clock.
1. Design on paper (sketch)
2. Defining dimensions (height, width, length)
3. Sawing out the wooden parts for the housing (6-10mm thickness)
4. Sawing out the copper parts using 18 gauge (1mm) copper sheet
5. Annealing and shaping the copper if necessary for the form
6. Building the wooden house using screws and bolts and hinges, painting the wooden parts
7. Drilling all necessary holes for fixing the metal parts
8. Sawing out the copper forms if any
9. Enameling and finishing the copper parts
10. joining the enameled copper parts to the housing
11. Inserting the clock and the battery and adjusting the clock
Looking at the Joy Clock, enameling of the upper “serpentine” parts was a challenge. As I applied the colors I used a laboratory support to hold the piece in any desired position. The enamel was applied by wet packing. Once the enamel dried, I selected another position with the lab support and wet packed another color. This is a very time consuming step. The next task to be solved is the support of the piece in the kiln. I cut out and formed appropriate supporting elements from stainless steel.
The Clock Medium Complication (2012)
The Top is made from one piece of copper with a rod thru it-
Two Painted Clocks
Here I have used cloisonné technique with mat and shiny finish.
Cloisonné clock (2012) with mat finish, fine silver wire
Of course, a formidable polishing job!!
Cloisonné Clock (2012) with shiny finish, fine silver wire
Skeleton Type Clock (2014) with integrated watch gears
This Fairytale Castle Clock (2013) is a magical combination of Murano glass beads and enamel.
The Penny Clock (2013) was adorned with old coins featuring Kings and Presidents. The area for the placement of the coins is sawed out of the metal and the coin is glued in.
The intricate design on the Triangle Clock (2013) was cut with a Jewelers saw and then attached over a brass plate making this work a time consuming business.
Princess Clock (2014) with hand sawed face and side plate - This piece is reminiscent of a medieval clock.
Rear side with hinge
The most difficult and most interesting part of the clock is the face. I have used divisions or ciphers ( numbers ) for the hours. The accuracy of the time indication ( i.e. whether the hands of the clock show the right cipher at the right time ) depends on the exact positioning of the divisions or numbers. Therefore, the divisions/ciphers have to be accurately drawn on paper. The drawing is then transferred using wax transfer paper onto the pre-enameled face. The transfer is usually carried out as the last step after the face has been enameled and fired several times. The white wax traces are used as a guide for hand painting the ciphers or divisions under a magnifying glass.
The Polygon Clock (2014) hinged box with hand sawed face and four side plates.
Wheel of Time Clock (2014) hinged box with circular postern on the sides and on rear side.
Filigree Clock (2014) with hand sawed decoration on all four sides.
Something else to consider is the stability of the door for changing the battery as it is opened and closed. Often I have used a small metal chain to hold the door.
I pushed my ideas further by using a small quartz clock and a piece of enamel set in an old pocket watch.
The Pandora Clock is an all metal structure. (2013)
The Patience Clock (2014) in Sgraffito technique as a wall panel. The piece has been accepted and shown for the 48th Intl. Exhibition of the Japan Enameling Artist Association in the Tokyo Metropolitan Art Museum in July 2014.
The text is "Patience" in Sanskrit, English, Japanese, German & Thai
The Golden Clock (2013) uses a 3 dimensional optical illusion pattern. To create the hand painted pattern, the corner points had to be exactly marked by wax transfer.
My fantastic journey through the world of clock making is far from over. There are still many more exciting possibilities to be designed.
CALL FOR ENTRIES* Alchemy 3: Vision + Passion + Creation Building a new community with enamel, glass and metal
Marianne Hunter Jennifer Park
The exhibitions will travel in 2015 – 2016 to:
Montserrat College of Art, Beverly, MA • Summer 2015
Worcester Center for Crafts, Worcester, MA • Fall 2015
NH League of Craftsmen, Concord, NH • Winter 2016
McGowan Fine Art, Concord, NH • Winter 2016
*All entries must be submitted online by 12 noon E.S.T. on Wednesday, Nov. 12, 2014
15th Biennial International Juried Enamel Exhibition & 11th International Juried Student Exhibition – General Information
Submission Deadline: Nov. 12, 2014
Acceptance notification: Jan. 30, 2015
Exhibitions open during the Enamelist Society Biennial Conference at Montserrat College of Art, Beverly, MA and travel to Worcester, MA and Concord, NH.
Prospectus and submission form: www.enamelistsociety.org
Entry fees: Member $35 — Non-Member $45 Student $15 (must be enrolled in a degree granting university or school)
Exhibition Jurors: Martha Banyas, Jim Malenda & Vera Siemund.
Cash awards will be given to exceptional works in both the international and student exhibitions.
Questions, please contact the Enamelist Society office:
The bus is leaving!
We are headed to the
You will never think of Glass in the same way again-
Praise to the hard workers of India!
GOLD and SILVER THRONE
Russian gilt silver cloisonne enamel salt [cellar] throne and spoon, 1908-1926, scroll and floral overall enamel decoration, gilt interior, hook on side, mark for Г.П with matching salt spoon. Both with marks for Kokoshnik, 1908-1926, .875 fine.
Salt began to be produced in Russia in 1515 and was mostly controlled by the Stroganoff family through the 19th century. While the working classes were not familiar with salt, it was a highly valued commodity used by the wealthy class especially for entertaining guests. For the wealthy, salt not only flavored food--it was a status symbol and impressed guests in much the same way as a big house or castle and fancy porcelain services would impress. Dinners might have up to 10 courses, and with each course a new porcelain service was set out. Salt cellars were an enhancement to the porcelain services. Many different kinds of salt cellars were made. They ranged from basic, unadorned, silver salts to enameled, gem-encrusted, solid gold salts, and everything in between.
sent in from:
Meghan Salgaonkar, India
23.06.2014 – 20.07.2014
ENAMEL MINIATURE on copper 7x9cm. inspired from "Madonna dell'ulivo" (Quasi oliva speciosa in canpis). Original work of te Italian artist Nicolò Barabino (1832-1891) in 1888. Swisse school
DISH: The Wedding Feast of Cupid & Psyche
Enamel, partly gilded, on copper
Artist: Pierre Reymond (1513 - after 1584)
French (Limoges) 1558
Signed & Dated: PR 1558
Reymond based the image on an engraving by the anonymous Italian Master of the Die (active ca. 1532). The subject comes from The Golden Ass (book 5, chapter 24) by the Latin author Lucius Apuleius.
Metropolitan Museum of Art
I was born in 1974 in Jaipur (Rajasthan) India. I am the 9th generation of family enamellers, who learned the art from artisans of Iran around 450 years ago, spreading enamel art through various parts of India.
My forefathers pictured in Jaipur Enamels publication - 1886
My family made many beautiful pieces for the Royal family of Jaipur as well as many other royal families.
My grandfather, Shri Kawal Singh ji (center) with his father and uncles 1895.
My late father, late Shri Munna Lal Meenakar received a national award in 1975 from President of India, late Shri Fakru Dion Ali Ahamud, at New Delhi.
Artisans in India start at a very early age. “Meenakar” means Enameller” and “Meenakari” means enameling.
I began my enameling lessons from my father at the age 8 years old, along with my academic studies. From morning until noon I studied in school, then went to my Father’s studio to learn engraving and champlevé from 3:00 pm to 7:30 pm.
By 1990, at the age of sixteen, I left my academic studies and continued under the tutelage of my father in his studio that has continued since my forefather’s time. A year later, I moved into my own workshop, working alone creating objects in gold like boxes, pens and various styles of jewelry. Enameling is the main business of my family providing jewelry for stores as well as our own collection.
Working a pattern
3" cuff gold
Pendant- gold & diamonds
RING & EARRINGS
I worked exclusively in gold until 2008, until one day a famous foreign designer walked in and asked me to create an enamel piece in silver. It was a challenge for me, as it was my first time working with silver. It came out beautifully and she was very pleased. After that I made many pieces in silver.
Gold and Silver Box with diamonds
In 2011, I entered an exhibition of Indian handicrafts in enamel art and I made a 7.6 inches long gold vessel called BADLA for this competition. It took fifteen months to complete. I won the competition and received the National Award by the President of India on July 1st, 2014.
In my spare time, I enjoy flying kites, listening to old classic songs and riding my bike.
October, 26 2014 –November, 30 2014
The theme is “BLUE”
Vernissage / Opening; October, 26 2014 at 14.00 hours;
Antwerpsebaan 3 – 5554 JV
Valkenswaard – The Netherlands.
Due to improved cost factors I have been able to lower prices for the 3rd Dutch Biennial in 2014.
I have also made a differentiation in the costs for members and non-members of the CKI.
The prices are now 45,00 Euros for non CKI members and 35,00 Euros for CKI members.
In this price is included a catalogue which will be handed out during the opening of the exhibition.
Please find attached the new entry form for your info and participation.
Hope to see on the opening day.
DOWNLOAD THE APPLICATION:
PROFESSIONALS AND STUDENTS
The NICHE Awards competition is open to professional craft artists ages 21 and older who reside in America or Canada and are actively involved in the design and production of craft work supplied to galleries and/or craft stores. All work must have been made and finished in the United States or Canada. Work produced or finished in secondary studios in other countries may not be submitted.
The NICHE Awards Student competition is open to any craft student attending an American or Canadian undergraduate, graduate or certificate arts program, and the work itself must have been produced in the United States or Canada while the student was attending the arts program. Student artists may enter as a student for up to one (1) year after graduation; however, the work submitted must have been produced while an artist was still a student.
The 2015 NICHE Awards competition seeks NEW WORK in all categories, whether student or professional. Submitted work must have been designed, produced or introduced afterOctober 1, 2013 to be eligible. Work previously submitted to the competition will not be accepted. All work must be designed and made by the artist or a collaboration of artists, with all collaborators identified.
and the WINNER IS.............
JUDY STONE - Burnt Offerings - Hermione 3
and... the Finalists
LIKE THAT TREE
Chaya Caron - Eastern Star Flower w/Stand
SARAH PERKINS - Red Moss Container
CYNTHIA MILLER - Stormy Seashore in 12 panels
I would recommend to everyone to click on the link below and look at all the fabulous artists in so many different medias. Its mind boggling!!!
MERRY LEE RAE
2nd Place Winner
Ekaterinburg, Russian Federation
Luminous Ring- Mandarin Fish
To view all the metalsmith artist winners just click here:
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.