[TheForge] enameling

[Jeff Harding]

Or a kiln in a nitrogen atmosphere?  Though I'm not certain what the
nitrogen would do at high temps, may be a problem there too...


----- Original Message -----
From: "Demon Buddha" <osan@netlabs.net>
To: <theforge@mailman.qth.net>
Sent: Sunday, June 23, 2002 10:33 AM
Subject: Re: [TheForge] enameling


>
>
> Bob Smolen wrote:
> >
> > I heard one of the demonstrators at the ABANA conference enameled
a piece of
> > hot iron by applying granulated glass(?) I think. It was easy and
very nice
> > looking. Can someone describe the process and result of enameling
in the
> > context of forged work.
>
> I've never done enameling on iron, but have on brass, copper,
> and precious metals.  For these, the process is as follows:
>
> The surfaces to be enameled should be clean and free of oxides
> (is this so for iron?).  All areas where enamel is not wanted
> should be masked off with a material whose name I have forgotten,
> though it is maddeningly on the tip of my tounge but won't come.
> It is a bluish paint that dries in the air (sorry for the poor
> memory).  I'm wondering if one could substitute china white oy
> yellow ochre.  Anyone?
>
> Sprinkle the frit (pulverised glass) onto the area to receive
> enamel and place into the heat source.  If you are enameling a
> curved piece, use gum arabic on the surface.  It will act as a
> glue for the frit.  If you are enameling a curved surface, you
> paint a thin coat of gum arabic onto it and then sprinkle the
> frit on the tacky gum.  Fire as usual.
>
> As the temperature comes up, the frit will melt.  As I recall
> the enameling frits melt at about 1200 F.  I've done mine on a
> temperature controlled enameling kiln, so I did not have to be
> vigilant for over heat.  The frit will melt and the surface
> appearance will take on that "wet" look.  At that time the work
> should be removed and allowed to cool SLOWLY, preferably in a
> still air box so that the new enamel doesn't spall due to
> too-violent contraction.  You can further reduce the rate of
> cooling by setting the hot work on kiln furniture.  Preheating
> the furniture to, say, 500 degrees will further decrease the
> thermal shock to the work.  All this extra care should be
> predicated on the desired outcome.  If you don't mind cracked
> or spalled enamel, then don't worry about it.  Some may even
> want this effect as it has its own appeal.
>
> What you can do then, if you are doing cloisonn�, is grind the
> surface of the glass until the wires show through.  Refire as
> per above and you will have a nicely defined set of borders
> between regions of differing color.
>
> Cloisson�. in cross section for those not familiar with it:
>
>           Wire--------|             |------Frit
>                       |             |
>          _____________|_________ ___|______
>         | |___________O_________O________| | <--- metal bezel
>         |__________________________________| <--- metal
>
> First firing
>
>
>           Wire--------|             |------Frit
>                       |             |
>          _____________|_________ ___|______
>         | |___________U_________U________| | <--- metal bezel
>         |__________________________________| <--- metal
>
> Ground and refired
>
> Please forgive horrible ASCII artwork.
> _______________________________________________
> http://mailman.qth.net/mailman/listinfo/theforge
> theforge mail list group photo site is
> http://www.photoaccess.com
> Login:  blacksmithblacksmith@hotmail.com
> password:  anvil
> ___________
>
>
>