Enameling Jewelry Free Ebook

PRESENTS
Enameling Jewelry:
Expert Advice and Tutorials

for Raku, Torch-Fired Enamel
Jewelry Making & More
ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

FOR RAKU, TORCH-FIRED ENAMEL JEWELRY MAKING & MORE
10
Enameling
21 Enameling TIps
Enameled Filigree Beads
BY HELEN I. DRIGGS
BY HELEN I. DRIGGS
BY PAM EAST
12
Torch Fired Enamel
Medallion Necklace
17
20
Raku Fired Enamels
Tribal Shields
BY HELEN I. DRIGGS
BY MELISSA MEMAN
BY HELEN I. DRIGGS
nameling is a fun, easy way to add vivid, lasting color to

metal (copper, silver, and other jewelry metals)--but its
also a respected art form in its own right. Making enameled jewelry uses powdered glass that you can sprinkle, paint,
sift, or otherwise apply onto metal--or you can apply it with
precision in designs as detailed as your patience allows, with a
tiny brush. That powdered glass comes in various sizes or grits,
some so large they create pops of color and some so fine, it can
be mixed with water to create a literal paint that fires to bright
brilliance. You can enamel jewelry in bright, bold colors, soft
mellow pastels, or glassy transparents, and black liquid enamel
is a wonderful way to add designs to enameled jewelry, too.
Enameling is ideal for pendants and earrings, and I love the soft
tinkling sound made by some enameled jewelry like charms and
pendants. In this free enamel jewelry-making eBook, first youll
learn the enameling basics from Helen Driggs, including enameling tools and supplies, how to wash and drain enamels, how
to make color samples, even enameling on metal clay information. Next, youll learn so much about enamel jewelry making in
21 super helpful enameling tips from four expert enamel jewelry
artists, including Marianne Hunter, Amy Roper Lyons, Karen L.

Cohen, and Marjorie Simon.
Then the big fun begins, as you learn to complete four enamel
jewelry-making projects with clear, complete, illustrated instructions. Youll learn:
h
ow to enamel filigree beads with Pam East
h
ow to make a torch-fired enameled cabochon and stamped
medallion necklace by Helen Driggs
w
hat raku enameling is and how Helen creates great effects
with raku enamel techniques
h
ow to make enameled earrings embellished with glass beads
(optional) by Melissa Meman
If youre new to enameling jewelry, youre going to have so
much fun learning! And if you already know the basics of
enamel jewelry making, youll be inspired by these projects and
learning about beyond-basics enamel jewelry techniques like
raku and more. Enjoy!
Tammy Jones
Editor, Jewelry Making Daily
F+W Media, Inc. | All rights reserved | F+W Media grants permission for any or all pages in this issue to be copied for personal use.
www.JewelryMakingDaily.com 2

Enameling
Add a little color
to your metal
BY HELEN I. DRIGGS
OPENING PHOTO BY JIM LAWSON

STORY PHOTOS BY THE AUTHOR
(UNLESS OTHERWISE NOTED)
I have always loved the gleaming colors of transparent glass.

My mom had a display window where she organized her
collection of antique cobalt blue glass and lead crystal so the
sun could shine through it. I loved watching the mini rainbows
move across the living room ceiling and walls as the sunlight
was split into prismatic colors by cut glass. Its only natural that
the gleam of glass on metal appeals to meespecially in the
form of transparent enamels.
The world of enamels requires a different mindset than
metal forming and fabrication. Because of my graphic design
training, it was a relatively easy transition to start painting color
on metal in the form of powdered glass. The most important
thing to do when enameling is to keep everything clean. And by
clean, I mean really, really clean. One small particle of dust or a
grain of a different color of enamel can ruin hours of work.

Contamination is always a hazard, so go slowly and be
careful as you workand remember, it is extremely important
to label everything. Because fired glass looks different from
powdered glass, make sure you write the color number on both
the storage jar and its lid. Dont open more than one jar at a
time. Stick to one brand if you can, and keep those enamels dry.
When in doubt, throw it out is a motto used in the kitchen
that works equally in the enameling studio.
Despite these constraints, its easy to get started enameling,
and with a small investment in tools and supplies, you can
create a gleaming stone of colorful glass on metal to set into
your next bezel. And, metal clay artists: good news! There are
cool new enamel products and tools for you, too!
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, JULY 2009

METALSMITHS ENAMELING TOOL KIT

I converted a simple, used garage sale table into my enameling station. I cover the tabletop with fresh, white butcher paper (you can buy it
in rolls at a restaurant supply or bulk food store) every time I work. Heres a list of the tools I keep in my enamel kit:
1. P articulate dust mask
critically important
2. Apron
3. EnamelsI only use
unleaded enamels
4. Enamel storage jars
5. Solution for holding
enamel to metaloil
or water base
6. Distilled water
7. M
esh strainers
8. D
ental tools
9. Sable brushes for
enamel only
10. S able brush for holding
solution only
11. Stilts and mesh stands
12. Firing fork or spatula
13. Furnace floor shelf
14. Furnace/kiln
14
13
12
Also: Kiln wash, lint-free paper

towels, clean Solderite pad for
enamel only
8 10
9
11
I learned this trick from some lampworkers I know. Since I use a small trinket kiln to fire my enamel pieces, I set it up on my stainless
steel soldering station on a sheet of Hardibacker board from the Home Depot. This light gray solid cement backer board is commonly
used behind ceramic tile, but it is extremely fire resistant and relatively inexpensive. It comes in 3' x 5' sheets for about $10 to $15, and
you can cover a large soldering area with it. I still anneal in an annealing pan, and solder on a firebrick, but the Hardibacker is an extra
measure of heat protection. Ive never had an overheating problem anywhere in the studio since I started using it. When it gets really
gross, I replace it with a fresh sheet.
GRADE MESH FIRST

Because enamel is crushed glass, most batches need to be
grade sifted for the best color and reliable behavior. Once you get
those little envelopes of color, youll need to get your enamel ready
to use, so a handy tool to own is a set of mesh trays with specific
numbers of holes per inch. I purchased a set of trays that includes a
solid one for the bottom, so I can stack the trays from largest mesh
to smallest, and pour the powdered glass in the topit will sift
through to the finest mesh in the bottom. Then, I obsessively label
each storage jar and lid with the grade, manufacturer, and color
number. I use red lids for opaque colors, and white for transparent.

EASILY WASH AND DRAIN YOUR ENAMELS

Believe it or not, plain, white, flat-bottom coffee filters and a funnel are the best way to drain enamels you have washed. This is especially
important with transparent enamels, not as critical for opaques. First, put a coffee filter into the funnel and place these into a jar or glass to
catch the wash water. Dont pour the wash water down the drain! Let it evaporate, and wipe the residue out of the jar onto a paper towel.
Dispose of that paper towel in the trash. Heres how to wash your enamel:
PHOTO 1 Pour a small amount of desired

enamel into a clear shot glass with straight
sides.
PHOTO 2 Add some distilled water and swirl
PHOTO 3 Let the shot glass sit for a minute
or two.
PHOTO 4 Pour off the wash water (not the
enamel) into the coffee filter.
the enamel and water around.
PHOTO 5 Repeat this process until the wash

water runs clear. This usually takes 2 to 3
washings.
PHOTO 6 Transfer the washed enamel to a
storage container and label it.
ENAMEL TEST FIRE SAMPLES

Its almost impossible to determine what color any particular enamel will be based
on a chip you see in a printed catalog or website. Even when youve ordered
enamel, powdered glass and fired glass look very different, and the metal you fire it
on will affect the final result. Its a good idea to create a test strip for every enamel
you buy, so you can determine what the results might be for your kiln, your flux,
your enamel, or your metal. Heres what to do:
Cut a inch by 1 inch strip of 24-gauge copper. Pickle and rinse well. Punch a
hanging hole in the center of the top edge. Use numeral stamps to punch the
enamel color number on the strip. With a scribe, rule 4 lines (starting at the bottom
edge) at inch increments. Scrub both sides of the copper with cleanser and steel
wool until water sheets off the surface. Rinse well and dry without touching the
metal surface.
A | sift enamel directly on the

metal. Fire and clean well.
B | sift enamel over enamel flux.
Fire and clean well.
C | sift enamel over a strip of
silver foil. Fire and clean well.
D | sift enamel over a strip of
gold foil. Fire and clean well.
Counter enamel the back of
the strip.
If you intend to enamel on silver
instead of copper, follow the
same process to make a silver
test fire sample, but eliminate
section C, because you probably
wouldnt use silver foil on a
silver piece.

ENAMEL TOOLS FOR METAL CLAY ARTISTS

Although I havent used metal clay very much, I have to admit they
keep coming up with new, intriguing products that make me want
to give it a try. A new product called Rainbow Metal Clay Ultimate
Enameling Kit seems like an interesting way to exploit the plastic
quality of metal clayyou can mix colored enamel right in before you
fire it. To me, this seems like a way to replicate the look of anodized
titanium or aluminum. You can also add the enamel color after the
metal clay has been fired. This kit works with low fire clays, and includes
a complete instruction manual. Ill have to check this product out
sometime soon, because it really got me thinking about getting the
look of textured or forged anodized titanium without the inherent
difficulties of working with it.
Another kit that came across my desk is called Its Colorsby Sherri
Haab designs, and works on metal clay and other non-porous materials.
Powdered pigments are mixed with a liquid binder and painted on bare
metal. Then, you use a heat gun to set the color to make it hard and
durable. I havent figured out exactly what Ill do with these, but I know
one thing for sureif the colors turn out to be compatible with 2-part
epoxy resin, Ill definitely be putting them to use.
I hope to experiment with these kits when I get some time.
You can get them both here: www.metalclaysupply.com,
800-388-2001 or 903-586-2531.
TORCH FIRED ENAMELS

Torch firing enamels is a somewhat hair-raising experience, because the results are completely
unpredictable. Oxides from the metal will mix with the molten glass as you put the work
to the torch, and often beautiful speckled, pock marks or stained areas of green, black, or
golden brown will leach into the glass as you fire.
T H E R E A R E 3 I M P O RTA N T T H I N G S TO R E M E M B E R I F YO U D
L I K E TO T RY TO RC H F I R I N G :
1W
ork in a well-ventilated studio when you torch fire. Your piece might smoke as the
adhesive burns away, especially if you are using an oil based product.
2A
propane-fueled torch burns cleaner, so invest in a portable propane plumbing torch from
the hardware store if youd like to try this technique.

3K
eep the piece at the base of the flame to avoid excess oxidation. Fire from the underside to
preserve the color of the glass on the front, and fire until the color of the work is an overall,
glowing brilliant red. Cool the work on a stilt or heatproof Pyrex dish before moving it.
ENAMELING BY HELEN I. DRIGGS


21 Enameling Tips
Guidance from four expert enamelists
BY HELEN I. DRIGGS
MARIANNE HUNTER
W W W. H U N T E R - S T U D I O S . C O M
Break rules. Being taught is wonderful, but also try what cant
be done. The results may be a major breakthrough for your work, if
not for the field in general. Breaking new ground is a thrill.
For some detailed sorts of work, thinner layers of glass built up

between more frequent firings can give you a greater measure of
control.
It is better in most instances to underfire (you can put it back

in the kiln) than to overfirein which detail is lost, and colors,
especially sensitive reds/pinks/purples, can be significantly altered.
However: overfiring is a useful technique to explore. Luminous
beauty can be achieved there (see tip #1).
DAWN DRAGONFLY. DAWN DRAGONFLY PAINTED IN MIST, CLOUDS ON THE
WATER, FLOWERS IN THE FIELDS. PHOTO: HAP SAKWA. PRIVATE COLLECTION.
NAMELWORK CAN BE DONE AT MANY LEVELS,

DRAWING ON THE SKILLS OF THE GOLDSMITH,
PAINTER, AND CHEMIST. HERE ARE SOME GREAT
TIPS FROM FOUR ARTISTS WHO HAVE DEVOTED THEIR

CAREERS TO MASTERING THE ART OF GLASS ON METAL.
Little benchtop contact kilns are perfect for small pieces. They
use less energy, firing is quick, and timing very controllable.
I cover the opening in the top of my benchtop kiln with a shield

Ive made from many layers of folded aluminum foil. I prop it in
place and move it with 7" tweezers for access. This keeps the heat in,
which helps when firing on a trivet and is healthier for your eyes.
An aloe vera plant near the studio is great for burns! Taped in
place, it will cool a 2nd degree burn enough to keep working (but we
recommend not burning yourself as an even better alternative!).
7 You can never have too many X-acto knife blades.

8 Cleaning copper with Penny-brite is much easier than using a
Bright Boy.
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, JULY 2009

AMY ROPER LYONS
W W W. A M Y R O P E R LY O N S . C O M
Texture the surface of your fine silver before enameling with

transparents. When the piece is finished, it will look more alive as
light plays across its surface.
10
As you slowly fill your cloisonn cells layer by layer, if you

change your mind about an area, or dont like how some color is
coming out, lay down silver or gold foil to cover that area and you
can begin to fill again with a new color.
11
Transparents in very small cells tend to look dark, and the

colors dull. Remedy this by using an opaque, or by using foil under
your transparent color to brighten it.
12
To apply granules of gold or silver to the surface of your

enamel piece, finish all other enameling steps, and stone and sand
your piece to a fine finish, about 1200 grit. Using a diamond ball
bur, grind a small depression in the exact spot that you want each
granule to sit. Then place the granules with Klyr-Fyre. This way, the
granules wont move around as the glass softens in the kiln.
13
STARFISH PIN/PENDANT. 1.25" DIAMETER, 0.3 D. 18K AND 24K GOLD, ENAMEL ON
FINE SILVER. CLOISONN ENAMEL, HOLLOW-FORMED, AND FABRICATED. PHOTO BY THE ARTIST.
Use stainless steel firing racks to eliminate oxide flaking off the
rack, which can contaminate your enamel.
KAREN L. COHEN
PAISLEY
PLEASURES.
CLOISONN BROOCH.
W W W. K C E N A M E L S . C O M
14
When working with silver (fine or sterling), be sure to put

a layer of clear enamel under the warm colors like reds, pinks, and
oranges and opalescent white. Without the clear, these colors have
chemical reactions to the silver and will change to what you are not
expecting.
15
When wet-packing with opaque colors, put in a few drops of

Klyr-Fire to help keep them in place.
16
When wet-packing transparent colors, be sure to keep your

layers thinthis will help achieve the best clarity of color.
17
Sometimes when firing transparent enamels on copper the

color has a tomato-red cast to it. This is because the oxide in the
copper has not been taken into the solution of the enamel. In some
cases you might want this, but to get the clearest color try this: put
down a base coat of clear transparent and fire it high enough and
long enough so that the tomato color is gone.

MARJORIE SIMON
W W W. M A R J O R I E S I M O N . C O M
18
Hairspray in a pump bottle makes a great adhesive. Being

alcohol based, it dries quicker than Klyr-Fire and you can pour
a little into a souffl cup and mix it up just like water to apply
enamel with a brush.
19
For enamelists like me who are pretty much shake-andbake, fire a first coat with grade-sifted 80 mesh grains (held
onto the metal with hairspray, of course), then fill in a second
coat with 100 mesh for a smooth coat and good coverage. The
larger grains give more intense color and the smaller ones fill in
around them on the second coat.
SELECTION OF RED EAR DISKS. 1" DIAMETER. VITREOUS
20 Oh, and never, ever multi-task while firing!
ENAMEL ON EMBOSSED COPPER. PHOTO: RALPH GABRINER.
ENAMELIST SOCIETY
W W W. E N A M E L I S T S O C I E T Y. O R G
21
Learn more about enamels from the Enamelist Society,

a great resource for information suitable for enamelists from
complete beginners to experienced professionals.

Enameled Filigree Beads

Add a touch of color to these delicate beads.
BY PAM EAST
PHOTO OF FINISHED PIECE BY FRANK DESANTIS; ALL OTHER
PHOTOS COURTESY OF THE AUTHOR.
n October, 2003, I had the pleasure of

being involved in the Lapidary Journal
and Step by Step Beads Bead Fest.
One of the best aspects of participating
in a show like this is the opportunity to
connect with other vendors and artists,
picking up new ideas and inspiration.
During the show, Cosmo, of Cosmo and
Harini, came by my booth and watched me
demonstrating torch-fired enamel bead
making. A short time later, he came back
and showed me some fine silver filigree
beads he was selling and asked, Can you
enamel these? I wasnt sure, but I thought
it might be worth a try.
Right then and there, I pulled out some powdered enamel in transparent blue,
popped one of the beads onto my mandrel, and gave it a go. To my surprise and
delightit worked beautifully! Of course, I immediately wanted a double handful
of these little beauties. Once you try it, you will too!
I recommend using these beads for earrings and necklaces, not
bracelets. The enamel on the filigree is fragile and would suffer
under the abuse bracelets endure.
NOTE: Silver can act as a colorant to some enamels, turning them an
unattractive brownish color; reds, pinks, and oranges are particularly
susceptible to this. Blue and green shades work best, but you can
get some success with reds if you use several coats of Clear for
Silver first. The results wont be as brilliant as these colors usually
fire up, but you can get some nice soft pink tones.
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, MARCH-APRIL 2004

M AT E R I A L S
Business card
8" ceramic tile
12" ceramic tile
Vermiculite (a soil lightener)
Shallow pan
80 mesh transparent enamel
Fine silver filigree beads
TOOL S
HAND TOOLS: 6" slip joint pliers,
" mandrel tip, banding wheel (flat

topped lazy Susan), small spoon
SOLDERING TOOLS: Trigger-start
propane torch, torch holder, propane
cylinder400 g (14.1 oz)
SAFETY EQUIPMENT
Fire extinguisher, safety glasses, dust mask
SOURCES
Most of the tools and materials for
this project will be available from
well-stocked lapidary suppliers.
Lay out a transparent color of 80 mesh

enamel on the edge of the tile; I recommend
a deep, high pile. Because youre enameling a
round form, youll need the mound to be able
to cover the bead all the way to the hole.
Place a bead firmly on the " mandrel tip.

Youll need to use your fingers, not pliers, to
put the bead on the mandrel, so make sure
the mandrel tip is cool. Fine-silver filigree
beads are quite delicate and can bend easily,
so be cautious with them, and dont force it.
Have two mandrels set up so you can switch
back and forth, allowing the tips to cool
between beads.
Heat the bead in the torch flame until it

turns a light pink salmon color, not red. These
silver beads heat up in nothing flat so watch
it closely: the silver will overheat and melt in
the blink of an eye if you leave it in the torch
flame too long.
Roll the bead in powdered enamel and

return it to the torch flame. Continue working
quickly, heating it just enough to pick up
another layer of enamel. Dont try to get it to
a glossy finish until youve added 4 or 5 layers;
there needs to be enough enamel on the silver
to insulate it from the torch flame.
Once you have multiple layers of enamel

on the bead, heat it to the glossy stage by
working the bead quickly in and out of the
torch flame, rotating it continuously. Remove
the bead from the mandrel, using pliers to
push it off into a shallow pan of vermiculite.
Thats all there is to it! These beads dont

even need to be annealed and will be cool and
ready to use in about five minutes.
PAM EAST is an enamelist, educator, wife, and
mother. She was born and raised in California
where she studied Art and Art History at
the University of California Riverside. She
has worked with a wide variety of visual art
techniques and enjoys creating unique enamel
bead jewelry, but finds introducing enamel
bead making to new students everywhere to
be the most rewarding aspect of her career.
She has appeared on the Carol Duvall Show on
HGTV, and has her own video, Enamel Bead
Making with Pam East. You can contact Pam
at [email protected] or learn more about her
company, Pinzart, at www.pinzart.com.
Torch Fired
Enamel
Medallion
Necklace
SKILLS
Tabs secure a collection of enameled

stones in stamped surrounds
Torch use
Stamping metal
Riveting
TIME IT TOOK
BY HELEN I. DRIGGS
About 2-12 days
LIVING ON THE EDGE
OPENING PHOTO: JIM LAWSON; PROJECT PHOTOS: HELEN DRIGGS
of disaster: thats what this piece was

all about! Not only is the torch-fired
enamel technique unpredictable, I was
teetering on the brink of finished and
then destroyed three days worth of work.
Because I was willing to experiment and
was in the play mode of thinking, it was easy
to save what I could salvage and abandon
the rest. That way, I started again and wound
up with something I liked much better.
This project will help you to learn how
to fabricate based on unit construction,
how to torch fire enamel, and how to
stamp metal. You can go as far as you
like with these techniques and make one,
two, or 20 enameled parts, use them as a
single pendant, a multi-station necklace,
charms, or as earrings if you make them
small. I made my chain by hand, but you
could just as easily use a purchased one.
You can use opaque colored enamels if
you dont like the look of the hard clear.
Do yourself a favor and play. That way,
if you fry something like I did, you will be in
the right frame of mind to take it light and
start over. After all, its just a piece of metal.
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, SEPTEMBER-OCTOBER 2011

M AT E R I A L S
Variety of sheet metals ( I used

26 and 28 gauge brass, 18
gauge aluminum and 18 gauge
copper to enamel)
Liquid hairspray in a pump
bottle (I use Garnier)
Thompson enamel number
2040 hard clear
Thompson enamel number 2410
transparent copper
Tube rivets (make your own or
use eyelets)
Patinas appropriate to chosen
metals
TOOLS
LAYOUT: Circle template,
Sharpie, L-square, ruler, tape
Prep and finish: Cleanser and

brass brush, steel wool, flex
shaft and tips, sandpapers,
polishing compounds
ENAMELING: Sifter, sheet of
paper, firing tripods, torch and
striker, tweezers, firebrick,
alundum stone
HAND: Metal stamps, ball peen
or brass hammer, dapping block

and punches, disc cutter (to 78"
diameter), jewelers saw, rivet
hammer, steel block, large wire
cutters, files, flat file, corresponding drill bit for tube rivets
Make the Torch-fired Stones

Photo 1 Scrub 18 gauge copper with
the brass brush and cleanser. Remove
all scratches and bring it to a clean
finish. Make sure it is bone dry. Tape
the metal to a smooth steel block and
choose a metal pattern stamp. Stamp
a random (or planned) pattern all over
the sheet, remembering that you will
be cutting out a circle. I used a vine
pattern for this particular domed copper stone.
Photo 2 Use the circle template and
Sharpie to outline a 78" circle on the
stamped design. Cut out the disc or
saw it out if you dont have a disc cutter. Put the disc in the dapping block
design side down. Dome the disc into
a smoothly formed hemisphere. The
stamped design will remain intact if
you dap carefully. Scrub the dapped
disc in the sink with a slurry of dish
liquid and cleanser. Make sure there is
no tool grease or fingerprints on the
metal. Dry the domed disc completely.
Photo 3 Spray the clean disc with a thin
film of liquid hairspray. Sift a very thin
layer of transparent hard clear enamel
over the hairspray. I have found that
for transparent glass, the thinner you
screen the enamel and sift it, the better

your results. Let the domed piece rest
on the firing trivet until the hairspray is
dry. Transfer the trivet to the firebrick.
Photo 4 Light the torch. Get as hot
a flame as you possibly can for your
fuel type. I used a Smith Acy/Air torch
for this piece, but have had the best
results with torch firing using a natural
gas and oxygen mix. Bounce the flame
off the firebrick and up under the
domed copper. Avoid burning the
glass by aiming the flame down from
above. Really focus the flame on that
copper and dont move it you want
to get to lava red as soon as possible.
Observe the surface texture of the
enamel as you fire once you get
past the granular and orange peel
phases, the copper will be bright red
and the surface of the glass will be
like a mirror. Hold the piece there for
about 15-30 seconds. I like to introduce copper oxides into the transparent glass, so I do run the torch over
the surface of the piece one or two
times after I am certain the glass is
molten. Once you are sure the glass
has gone completely molten, remove
the torch and let the piece cool.
OPTIONAL: Rolling mill and

textured brass sheet for pattern
sources instead of stamps
SOURCES
Most of the tools and materials

for this project will be available
from well-stocked jewelry
supply vendors.
AN
EASIER
WAY
7
Instead of torch firing the stones, use

30 mm round cabochons. Eliminate
the brass collar and just hold the
stone to the back plate with tabs.
DESIGN START
Photo 5 When the glass begins to

solidify, it is a good idea to pick up the
trivet with tweezers and tap it on the
firebrick a few times to make sure the
trivet and piece have not fused to each
other. You can transfer the enameled
dome to a steel block for faster cooling
if you wish.
Once the piece has completely
cooled, scrub it in the sink with a brass
brush or grind the edges and surface
with an alundum stone. I made my
hemispheres from a variety of textured
and stamped copper for this necklace.
All of them were 5 layers of glass. For
each firing, I sprayed hairspray, sifted,
let it dry, fired and cooled. Then, I
brushed and stoned, sprayed and repeated. On the 4th firing, I used a thin
layer of color 2410, and finished with a
final layer of hard clear.
Fabricate the Stamped Back Plate
Photo 6 Cut out a back plate shape
large enough to surround the enam-
eled hemisphere. I chose a floral

shape for my backplate for several
reasons, but the most important one
was that a circular element (the enameled dome) made logical sense in the
center. I cut the design from 20 gauge
aluminum, because I like the dull and
matte surface of that metal against
the shiny gloss of the glass and the
brass collar. Aluminum is also very
easy to stamp.
Photo 7 I sketched a rough guideline
for stamping with a Sharpie about
3
16" in from the edge. I also planned
the positions for the tube rivet liners to
hang the pendant from the chain later
in the construction. I did not stamp
there. It is also very important to keep
track of the very center of the piece for
positioning the tabs later in the fabrication. I indicate a small circle in the
center with a Sharpie.
Photo 8 Stamp the perimeter of the
pattern first, and then fill in the all-over
design within the perimeter. The stamp
I used was a tiny flower, and later, I also
stamped a dotted border just outside
of the stamped areas.
Photo 9 I used a centerpunch to tap
divots in the metal for drilling the
hanging holes. I drilled the holes for
the tube rivets and filed them open
until the tube rivets fit the holes very
tightly. An easy way to test fit tube
rivets is to slide them on that centerpunch and push them into the drilled
holes the centerpunch becomes a
handle for the tiny parts.
I wanted to cold connect

a torch-fired enamel
stone in a wearable
piece of jewelry and
incorporate a variety of
unrelated techniques.
Its a piece for someone
who is intrigued by
flower motifs, texture,
and subtle color.
#1 DESIGN
ELEMENTS
n
n
Texture
Repetition
#1 DESIGN
CHALLENGES
How do I simultaneously secure the enamel
and protect it from wear
without relying on a
soldered bezel or torch
fabricated setting?
n I destroyed 3 days
of work trying to rivet
some of the elements
together and had to
rethink how to construct
this piece. Once I settled
on the thinner gauge
brass collars, I was
home free.
n Next I want to try it in
sterling silver.
n
10 tips for
Stamping
Success
Test drive any stamp
on scrap metal before
committing to your
real piece.
n Well-annealed, clean,
smooth, and dry metal
is a must. Sand out
all scratches or spots
before you layout your
design.
n If your design is
complex, make a
same size tracing
paper plan before you
stamp.
n Stamp on a smooth
steel block.
n VERIFY the direction
of the stamp before
you strike it.
n Hold the stamp vertical and steady.
n Strike the stamp
ONCE like you
mean it.
n Use a ball peen, brass, or
large chasing hammer
n Tape the metal to the
block to prevent movement.
n Try stamping on
textured metal, or
combining two different design stamps
10
11
12
13
14
15
Photo 10 Once the rivets fit the

holes, file away any excess metal
from the back, but do not set them
yet just set them aside.
Create the Tabbed Opening and
Collar
Photo 11 Measure the actual diameter of the enameled stone with a
circle template.
Photo 12 Transfer the enamel diameter to the stamped back plate
using the same opening of the template. I decided to center the circle
optically because my drilled rivet
openings were slightly off center,
and I wanted them to align with the
enamel.
Photo 13 Mark 2 more circles, just
outside and just inside the enamel diameter. They will be the dimensions
for sawing out the tabs. Centerpunch
and drill 4 holes one for each tab
for inserting the saw blade into the

piece to pierce the tabs. Cut the lines
for the tabs and gently bend them up
toward the front of the piece.
Photo 14 Test fit the enamel inside the
tabs. There should be enough clearance to drop the brass collar over
the enamel to protect the glass from
friction created by the tabs. I decided
to square off the tops of the tabs, so I
filed them down with a flat file.
Later in the fabrication, I decided I
only wanted to use 3 of them, so I wound
up sawing the bottom one off after I had
cut it and bent it, so I filed that opening
flat, leaving just a small lip of metal for the
brass collar to rest against.
Set everything aside.
Photo 15 I used 28 gauge roll-printed
brass to create the collar for the
enamel. I cut a 1" diameter circle with a
5
8" opening. I clean finished and patinated
the brass before the next step.

Photo 16 Dap the collar face down.
Check the fit of the hemisphere over
the enameled piece. It should lie over
the enamel easily you shouldnt have
to force the fit and the base should
lie flat on the bench top.
Photo 17 Polish the final collar to finish.
Double check the inside of the opening and the back of the brass, and be
careful to remove any burs or scratches
that may crack the enamel.
Photo 18 Set the tube rivets into the
openings, and clean finish the back of
the piece. Test the fit of the enamel
collar within the tabs. It should drop
into the back plate easily. File or sand
away any areas with poor fit, but do
not remove too much metal from the
base of the aluminum tabs they will
have become very brittle after stamping and opening them.
Photo 19 Dry fit all of the parts. Sand
and prepolish all metal. Once you are
satisfied with the fit and positioning,
push the tabs against the collar very
carefully.
At this point, I decided to remove
the bottom tab, so I sawed it off
and filed the stub flat. Then, I used
a square punch and a gentle tap
with the chasing hammer to coax
the remaining 3 aluminum tabs into

position.
Photo 20 Polish everything and wash
with soapy water and a toothbrush.
Patinate as desired. I tried a new gold
patina from Jax on the aluminum, and
I liked the subtle pale golden matte surface it gave the metal.
Connect the Pendant
Photo 21 At this point, you may decide to finish the necklace using the
pendant as it is. I created a handmade
chain for it by using a simple 2 ring into
1 ring chain. This example shows the
design with 2 colors of rings to illustrate the pattern; my actual necklace
uses only brass rings I made using 16
gauge round wire and a 6mm mandrel.
You can also use a commercially made
chain or purchased jump rings. I closed
the necklace with a simple fish hook
clasp.
Going Further
I added 2 more enameled medallions
to either side of the pendant, and created them using a smaller flower motif
and with " enameled discs. The 28
gauge collar for these elements began as
a 78" disc with a " opening.
HELEN DRIGGS is a Senior

Editor for Lapidary Journal
Jewelry Artist and an
experienced metalsmith and
teacher. Follow her twitter
feed @fabricationista.
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21

Raku Fired Enamels

A fun technique for the pyromaniac
BY HELEN I. DRIGGS
I recently spent a fun fall afternoon with two dear friends,

Sandra and Alan Kravitz, exploring the potential of raku fired
enamels. We had great fun with
this technique, and though I only
scratched the surface, I must
admit I am hooked and looking
forward to our next session.
Raku fired enamels, like the
ceramics technique of the same
name, owe their iridescent and
sometimes textured surfaces
to whatever organic material is
present, on fire, and smoking
like crazy as it ignites and burns
along with the enamel piece in
an enclosed area which in our
experiments was a heavy old
stock pot with an improvised
heavy plate of sheet metal for
a lid. Its a good idea to work
outdoors, in old clothes, and with
a helpful and somewhat fearless
partner or two if you decide to
try it.
blues, blue-greens, and aquas

because of the interesting ways
the copper reacts.
So the first thing to do for raku
firing is to prepare several enamel
samples to their final firing. I
prepped the 8 samples shown
here in various ways before we
three pyros moved our operation,
kiln and all, to the backyard for
the raku part of the process. I took
careful notes and did my best to
document everything, despite getting caught up in the excitement of
burning lots of stuff outside.
What Is Raku?
Raku is a form of Japanese
potterythat is createdby
hand of very porous clay.
Most often, a fired raku piece
is removed while hot from
the kiln and is allowed to cool
either in the open air or in a
closed container filled with
combustible material. The
resulting glazes and surfaces
are as varied as the materials
used to create them.
Prep and Setup
Anything goes: any enamel technique can be raku fired at the

end. Best of all, if you hate what
you get, you can fire the piece
in the kiln again and evaporate
any raku effect you dont like,
effectively erasing any evidence
of it from your piece. Whatever
youre working with, whether its
glass, frit, or powdered enamel,
make sure its clean. And whatever the form, youll have the best
luck copper-containing enamels meaning greens, peacock
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, APRIL 2013
LJ_CoolTools_Apr13.indd 19
2/25/13 12:50 PM
Dont pour the wash water down the drain! Unless you have a close
relationship with a plumber, let that water evaporate and then wipe
the residue out of the jar onto a paper towel otherwise those glass
particles eventually will clog your pipes.
Raku Firing
After completing the pieces

you intend to raku fire, set
up the kiln outside and hold it at
1500 F.
Gather bone dry organic

material, like leaves, grasses,
herbs, or straw, and place several inches of them in the bottom of a heavy lidded pot, on
the ground or a low table right
below the kiln door. Have heavy
tongs nearby. Have your helper
hold the pot lid.
Place the finished enamel

(with counter enamel) on a
trivet and screen, and slide it into
the kiln. Bring the piece up to firing temperature and hold it there
a moment or two. Hold the heavy
tongs in your hand while you wait.
As quickly as possible, open

the kiln door, and use the
tongs to firmly grasp the screen,
tripod, and enamel, remove from
the kiln, and dump the entire
stack into the pot. Have your
helper put the lid on immediately
to contain the smoke and fire
within the pot. At the same time,
close the kiln door to prep for the
next firing.
When the smoke clears, use

the tongs to remove the
still-hot piece, tripod, and screen

from the pot. Set the work and
tools aside to cool. Once the fire
in the pot is completely out, add
new organic material to the pot
for the next piece. Repeat for
each raku firing.
Thompsons #123
sifted in crossing
stripes. Refirde,
adding #10 Bovano
in openings.
Raku fired.
My Sample Tiles
As you can see, I was lucky

enough to get a few really nice
samples as well as a few duds
from our experiments. Every one
of my squares was counter-enameled first, and I used Thompsons
Klyr-fire and Medium fusing Black,
Bovano #161 or Sawyer 161 hard
white as a flux. I scrubbed off
oxides from the tops as well, and
stoned my edges after every firing.
Like any complex technique,
good notes are a must if you
have any intention of repeating what you did. Even then, the
vagaries of smoke, glass, fire, and
chemistry may never give you the
same result twice. In any case, it is
worth trying this technique, and I
think the iridescent effects on the
glass combined with the random
surface texture is quite beautiful.
I want to thank Sandra and Alan
for inviting me to their studio and
home. We three pyros spent a
fun, long day together, and I am
really looking forward to our next
enameling session!
#931 and
#934 frit
only on
transparent.
Raku fired.
Thompsons #266 on transparent;

sift and scrafitto. Refired, adding
frit #931 and #934 and a stripe of
Thompson #387. Raku fired.
Thompsons #938 freeform sifted on

black opaque. Refired, adding silver
carbonate (Ag2 CO3) with liquid white
Thompsons #533 dots. Raku fired.
Bovano #10 and Klyr-fire on

white opaque. Refired with
Midnight #387. Raku fired.
Thompsons #938 sifted
in dots on opaque
black. Raku fired.
Silver carbonate (Ag2 CO3) with

liquid white Thompsons #533 on
opaque black. Raku fired.
Copper carbonate with Thompsons #533 liquid

white on white opaque. Refire, adding silver
carbonate (Ag2 CO3) with liquid white and 2
colors of green seed beads. Raku fired.
Challenge Yourself
skill level
tools & supplies
tribal shields
BY MELISSA MEMAN
I love torch-fired enameling on copper! I created some organic

shapes like the ones used here in different colors and had them
in my stash for quite a while, not sure what I was going to create
with them. Along came these fun and colorful glass head pins
by Jen Cameron of Glass Addictions! The idea popped into my
head to add the head pins as an embellishment and the earring
bail. The shapes can easily be adapted, and they can be left
un-enameled for a totally different look.
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
20-gauge sterling wire, 1'

22-gauge copper sheet
Enamel powders
Artisan glass round headpins, 2
Ear wires of choice
Liver of sulfur gel (optional)
Pickle pot
Pickling compound
Jewelers saw or metal shears
Heat-resistant tweezers
Ball peen hammer
Bail-making pliers
Sharpie marker
Steel block
1.8mm hole punch or drill
Propane torch (MAPP gas or propane)
Magnesium block
Diamond files
Sanding block
RESOURCES: Copper sheet and wire: Thunderbird Jewelry

Supply, thunderbirdsupply.com. Glass headpins:
Glass Addictions, glassaddictions.com. Lead-free
Enamel: Thompsons Enamel from Painting With Fire
Studio, paintingwithfirestudio.com. Tools: Rio Grande,
riogrande.com.
ORIGINALLY PUBLISHED IN EASY METAL, 2015

1
2
Draw your desired shape on paper, and

trace it onto the metal sheet twice.
Cut out the shapes with the jewelry saw

or metal shears. File the edges smooth
with diamond files and a sanding block.
Texture the metal with the ball peen

hammer, concentrating on the upper
portion (the bottom will be enameled).
Punch or drill a hole in each upper corner of
the shields.
1A
1B
2A
2B
3A
3B
Enamel the component. Hold the

copper with heat-resistant pliers or
tweezers.Using the propane torch, heat the
copper until glowing red. Immediately dip
into the enamel powder. Put back into the
flame until the enamel looks glassy.Dip into
the enamel and fire 1 or 2 more times.For a
varied color effect, use opaque enamel for 2
layers, then a coordinating transparent color
for the last layer. Let cool completely.
Pickle the pieces to remove the firescale.
4A
4B

6A
6B
Insert the glass head pin into one of the

holes. Bend the wire tightly up against
the back plate, and bring it over the top of
the shield, down, and around the head pin
in the front. You must wrap to the outside
of the head pin, so that the wire end comes
back up in the middle of the component,
as this wire will also make the bail. For the
other earring, remember to start with the
opposite hole.
Using bail-making pliers, form a wide

loop with the wire. Insert the end into
the second hole, and create a wrapped loop.
7A
7B
7C
8A
8B
9A
Snip the remaining wire, and file to

remove snags or burs. Straighten the
loop with bail-making pliers. Tap lightly
with the hammer on the steel block to
flatten or texture.
Patina with liver of sulfur gel, or another

patina of your choice. Buff with #0000
steel wool. Optional: tumble the earrings
with steel shot for shine. To make the ear
wires, make a small loop on one end of the
20g wire, with round-nose pliers. Hold a pen
or mandrel against the wire, just above the
loop, and bend the wire over the mandrel.
Trim the wire just below the loop. Repeat for
a second ear wire and add them to the top
of each earring.
9B

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PRESENTS

Expert Advice and Tutorials

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

Enameled Filigree Beads

Raku Fired Enamels

nameling is a fun, easy way to add vivid, lasting color to

artists, including Marianne Hunter, Amy Roper Lyons, Karen L.

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

OPENING PHOTO BY JIM LAWSON

I have always loved the gleaming colors of transparent glass.

grain of a different color of enamel can ruin hours of work.

ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, JULY 2009

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

METALSMITHS ENAMELING TOOL KIT

Also: Kiln wash, lint-free paper

GRADE MESH FIRST

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

EASILY WASH AND DRAIN YOUR ENAMELS

PHOTO 1 Pour a small amount of desired

PHOTO 3 Let the shot glass sit for a minute

the enamel and water around.

PHOTO 5 Repeat this process until the wash

ENAMEL TEST FIRE SAMPLES

A | sift enamel directly on the

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

ENAMEL TOOLS FOR METAL CLAY ARTISTS

TORCH FIRED ENAMELS

the hardware store if youd like to try this technique.

ENAMELING BY HELEN I. DRIGGS

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

For some detailed sorts of work, thinner layers of glass built up

It is better in most instances to underfire (you can put it back

NAMELWORK CAN BE DONE AT MANY LEVELS,

TIPS FROM FOUR ARTISTS WHO HAVE DEVOTED THEIR

I cover the opening in the top of my benchtop kiln with a shield

7 You can never have too many X-acto knife blades.

ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, JULY 2009

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

AMY ROPER LYONS

Texture the surface of your fine silver before enameling with

As you slowly fill your cloisonn cells layer by layer, if you

Transparents in very small cells tend to look dark, and the

To apply granules of gold or silver to the surface of your

When working with silver (fine or sterling), be sure to put

When wet-packing with opaque colors, put in a few drops of

When wet-packing transparent colors, be sure to keep your

Sometimes when firing transparent enamels on copper the

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

Hairspray in a pump bottle makes a great adhesive. Being

SELECTION OF RED EAR DISKS. 1" DIAMETER. VITREOUS

20 Oh, and never, ever multi-task while firing!

ENAMEL ON EMBOSSED COPPER. PHOTO: RALPH GABRINER.

Learn more about enamels from the Enamelist Society,

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

Enameled Filigree Beads

n October, 2003, I had the pleasure of

ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, MARCH-APRIL 2004

ENAMELING JEWELRY: EXPERT ADVICE AND TUTORIALS

" mandrel tip, banding wheel (flat