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This page presents the 21 projects included in the book titled The Art of Fine Enameling. Each project is on a differnt technique and was written by the project artists describing their individual methods, and then they were edited by Karen L. Cohen and the book's editor, Ray Cornia.

The thumbnail pictures below can be clicked on to see a larger view of the project piece.

Many of the project artists give classes so you can either contact the artist to find out where their next class will be or call the class organization nearest you.

Note: projects in the book are organized in alphabetical order by technique name - just as you see them in the list below.
Project Artist Description
Basse Taille

Ingrid Regula Basse Taille – French for"low cut". A technique in which a pattern is created in the metal backing before enameling.

This project describes how to etch an organic pattern using Asphaltum varnish resist and then enamel over it. In addition, the Studio Basics, Tips and Tricks chapter provides information on many other ways to get a pattern into your metal.

Champleve Panel

Katharine Wood Champleve - French for "raised field" or "raised plain". A technique in which enamel is inlaid into depressions in the metal, leaving metal exposed.

This project describes how to etch the depressions using printed circuit board transfer paper which is easily obtainable and then enamel into the depressions. Lastly, it describes how to finish the piece with stoning it down to an even surface.

Cloisonne Brooch

Karen L. Cohen Cloisonne - French for "cloison" or "cell". A technique in which metal ribbons or wire are bent to form a design, and enamel is then inlaid into the resulting "cloisons", cells or pockets.

The Studio Basics, Tips and Tricks describes how to bend the wires and provides other valuable tips. This project describes the steps to set the wires, enamel shaded areas within the cells and how to fix fine silver granulation balls to the top surface.


j. e. jasen A design or picture printed on specially prepared paper for transferring an image to enamel, glass, wood, etc.

This project describes how to work with decals and gives other valuable information on working with enamel-compatible ceramic materials.

Fusion Inlay under Enamel

Charles Lewton-Brain This project shows an unusual method of patterning the metal in preparation for enameling. First is described how to get a deep depression design into the metal and then inlay gold into it. Then the piece is enameled which can be done with virtually any of the other methods.
Ginbari Foil Embossing

Coral Shaffer A technique, developed in Japan, using a foil design made with an embossing plate and using a special thick foil called Ginbari. This is an excellent technique for reproducing a design as the embossing plate is reusable. It somewhat has the look of Cloisonné but the "lines" are not wire, they are embossed foil.

This project give complete instructions for making an embossing plate and then embossing Ginbari Foil.


D. X. Ross French for "greyness". A form of "painting" with enamel in a monochrome using a black background with white overlays.

This project gives an overview of how to build up layers of a white wash to gain the shadows needed for a completed piece.

Limoges - Painting with Enamels

Ora Kuller A technique of "painting" with enamel, originating in Limoges, France, in the 15th century which was developed by the Penicaud family. The use of this technique was the first time that different enamel colors were put next to each other without the separation of wire or surface metal.

This project gives an excellent overview of the enamels and other supplies needed and how to apply them to create a beautiful piece using this involved technique.

Liquid Enamel and Glass Ball Additives

Judy Stone This projects explains how to apply base coats of liquid enamel using an airbrush, how to build up your design, and how to fix glass balls to the surface.
Minimal Firing Enameling

Averill B. Shepps A project with basic sifting, but with a twist - how to build up layers without having to fire each one so that you use a minimum number of firings.
Mounting Enamels

Marian Slepian This project gives the basics of mounting an enamel to a backboard and how to construct a hanging device that would be used for permanent display.
Plique a jour Pierced-heart Pendant

Diane Echnoz Almeyda French for "membrane through which passes the light of day". A technique that resembles miniature stained glass and is reminiscent of its Art Nouveau and old-world influences. There are two basic methods of Plique-a-Jour: surface tension enameled and etched enameled. The surface tension method has two methods of metal construction.

This project is a detailed description on the pierced metal method of surface tension plique a jour.

Raku-fired Bowl

Jean Tudor A technique in which hot enamel, which includes oxides, is put through a reduction firing which results in iridescent colors. The technique can be used with or without silver nitrate crystals.

This project uses silver nitrate and non-silver nitrate Raku effects. It also gives a list of Thompson Lead Free enamels appropriate for Raku.

For more information on Raku Enameling, see Jean's article from Glass on Metal.

Separation Enameling

Tom Ellis The use of separation enamel, which is an accessory enameling product, which creates unusual effects based on viscosity (see Glass On Metal, Enamel Potpourri, by Woodrow Carpenter, Vol. 11, No. 2, page 30).

This project gives excellent directions on how to raise a platter form from a sheet of copper and then, using Sgraffito and sifting techniques along with separation enamel, how to create a beautiful design.

Sgraffito Plate

Sally Wright A technique in which lines are drawn through a top layer to reveal the surface below. One could sgraffito through unfired enamel, firescale, underglazes and liquid enamels, to name a few.

This project describes four different ways in which Sgraffito can be used, all in the same design.

Stenciled Tile

Sally Wright A technique in which a design is cut into a material such as paper or mylar, through which the enamel is applied to, or removed from, the metal. Thus the "holes" that are cut can either be the positive or the negative space of the design.

This project provides complete instructions on using stencils of your own making and stencils employing simple items found in the studio to create an enamel piece.

Silk Screen for Enameling

Ute Conrad A technique in which designs on material mesh, such as silk, polyester or nylon, are transferred to an enameled base; this is similar to silk screening on cloth.

This projects fully describes the materials and process of making a screen for use of this method and then takes you through completing a piece.

Stone Setting Within an Enamel

Dee Fontans This project describes how to set a stone in the middle of an enameled piece, and how to apply foil.
Torch-altered Metal with Cheesecloth Stencil

Roxane Riva This exciting project explains how to cut metal with a torch and use the two parts to form an "echo" design. The enameled pattern on the metal is done with a cheesecloth stencil which leaves a wonderful pattern in enamel.
Torch-fired Beads

Aileen Geddes A method of enameling in which a torch is used for the heat source, instead of a kiln.

This project has excellent photos and instructions on how to make beads from copper tubing using a torch setup.

Vessel Forms

Sarah Perkins This projects explains how to enamel on a vertical surface and how to fix wires onto that surface. The counter enamel is done in very interesting way and all the directions are quite clear.

Note: many of these techniques are French words with accents on them (ex: Cloisonné). The accents are not shown here (but are in the book) so that the search engines can more easily index these terms.