This chapter describes an extensive list of various Supplements and Add-Ons, including such weirdo material as cat hair. The information on this page provides either more information on ones in the book, or new materials that can be added to your enemaels.
These are larger versions of the Floral Wafesr, both sold at e-namel.com and made by Tim Ellis. They look strange as they are a puddle of glass with a stem in the middle - you fire them with the flat side down about 1 min 10 sec at 1450°F and voilá - you get a flower. Here is what I did with one:
This product is mentioned in the book. It is a high quality coating that will give your enamels the look of dichroic glass. Here is a video on how to apply Dichroic Extract to glass. Of course this will have to be adjusted for working on enamel, but I don't think the change would be too difficult. For example:The video states that to brush on this powder, it's best for the glass to have a texture to it. She shows what to do for glass, but for enamel, try this adjustment: sugar coat using clear enamel. In fact, my guess is that Thompson luster powders can also be applied this way. But experimentation is needed - just something else to try!
These are small pieces of Dichroic Glass that either come in clear or with a black backing. In general, I suggest the clear because if using the black backed pieces and they flip over, you will not see the color. Note that these are not the normal frit - these flakes are smaller. Embed them as with other small/flat Add-Ons as described in the book.
As you can see, these are 96COE and manufactured by CBS. But they are available at many glass fusing suppliers.
Here is a piece I made using these flaks.
Here's a new product to consider when you like a little bling in your enamels. These glitter enamels come in 3 colors (silver, gold and bronze) and 3 sizes (small, medium and large) and are compatable with all Thompson Enamels unleaded enamels. Developed for torch firing, they can be used in a kiln, of course, but cannot be used with a sifter. A sealer coat is also required and this mixture can be sifted. Check out Glitter Enamel and watch a video on using it. See the background of the peacock to the right for a sample.
Another type of "glitter" can be created - see Jazz Enamel below.
Various types of pens can be used to draw fine lines with liquids such as Underglaze or Overglaze or the "ink" that Lydia Morrison describes in the book on page 34, made out of BWC cake watercolor enamels. Typically the crow quill pen is used. But Lydia has found two other pens she prefers. One is the Ruling pen (originally used by draftsmen) which she feels holds more liquid than the crow quill. See the cat earrings that she loaded her black "ink" only once to do all that drawing. Watch a video on use of the Ruling Pen, which can be adjusted for line width. One place to get it is here.
Another pen, that also would hold more "ink" for enameling, is the Kemper Gold Pen:
The book discusses John's use of sand, but he is taking it to a new level... sculpting with sand and enamel and calling it Sandenameling!
The book: Killmaster - Art And Soul is all about John's work. Written by art critic Christopher R. Schnoorm the photos are sure to wow you.
The Supplements and Add-ons chapter in the book discusses a few ways to embed stones in an enamel. For example, James Malenda wrote an LLT on his method he calls Champavé - how to embed a heat tolerant translucent stone (like a CZ) in enamel with light behind it. But Jean Vormelker has a method not described in the book for any type of bezeled stone and it is presented here.
Jean is an experienced enamelist who has a series of pieces where the enamel mimics a stone's beauty. She does this in both Cloisonné pieces (see photo to right) and enamels without wires (see finished piece below). But in either case she follows these basic steps (differences are noted where appropriate):
Jean's work can be viewed on her website.
Mona Szabados sets small diamonds in a unique way - she embeds a 24K gold ball in the enamel and then drills out a space for the diamond, leaving a thin wall that she uses as a bezel to hold the stone in. Diamonds can take the heat of the kiln, but cannot be ebedded directly into the enamel as the enamel will craze. Mona says she uses the highest quality diamonds because lesser ones will lose their sparkle after a few firings. See the detail of the woman's earring below.
This is a supplement developed by Sydney Sherr, an award winning designer, goldsmith, sculptor, illustrator, and educator (although all her 2020 classes are canceled because of the Coronavirus). Sydney is happy to share how you can make this yourself. Here are some pieces that she used this Jazz Enamel in:
Instuctions Coming Soon!
There are quite a few metallic inks that work with enameling, like liquid gold or mica pens (Skura Gelly Roll Metallics - gold, copper and silver), but what about stamp pads so one can use rubber stamps? Lydia Morrison found this ink pad:
Note the sample chip in the upper left corner of the label that Lydia did. This is made by Tsukinek who also makes other metallic ink pads. But Lydia has not yet found another that fires and holds its color. If you try others, please contact me with your results.
The book does talk about normal black ink pads that can be used for the Sift & Tap (pg 84) to get a stamped image onto your enamel (see page 93).
This is a Thompson Enamel product, #2001, only comes in lump form and is medium fusing for copper, silver or gold enameling. Here are two suppliers - e-namels.com and Enamel Warehouse. These lumps can be fired over colors to produce a jewel like effect, especially like opals.
If fired to full fusing, a few together will dome up into a mound like a cabochon, and then when fired for a shorter time, will be sort of milky. Irmgard Carpenter (wife of Woody Carpenter who used to own Thompson Enamel) developed a process for these lumps that looks like an opal. See the photo at the right which was a pendant done by Tom Ellis, Technical Editor of my book. When purchased, you might get larger lumps than needed (see below on how to make them smaller) - if possible, order size 6/20 mesh of #2001 Opal jewel Effect lumps.
Here are the steps to get this interesting effect.
You will have to determine when this should be done on your piece, taking into consideration the other part of the design. For example, if the piece is a full Cloisonne design, you might want to do steps 4-end after you finish your cloisonne and have ground down the top. Also, this can be done with a copper base and silver wire, but care must be taken you do not get the Eutectic Effect. Have fun!
Sometime you buy enamel lumps and they are too big for how you want to use them. One way to make them smaller is to put them in a thick plastic bag and hit them with a hammer. But that frequently breaks the bag or you get dust instead of lumps. Here is a way that Lydia Morrison crushes them with a mortar and pestel. The main thing is to not hit too hard and to cover the mortar - Lydia uses cardboard from a cereal box - check out her video:
The book talks about the Sakura Gelly Roll Metallic pens that work with enamel, but not the white. These white pens come in 3 sizes and work great on enamel, matte or shinny. Check this out for a sample.
In my book, page 48, I have information about LIquid Metals. Gold is the typical one. It shows a sampler of it's use and how wonderful it looks completely overfired. But to get it solid and even is not an easy thing.
Teresa Kiplinger does a great job of getting Liquid Gold solid. She says: The liquid gold is applied very thinly and evenly; one smooth layer; don't go back over it when it's wet. I read on Ganoksin that this is the key to using liquid metals and I've found it to be true. I also torch fire, so I can observe progress and remove the heat as soon as it turns metallic. (This can be seen through safety glasses.) I think this might make it easier to avoid over-firing. The surface must also be absolutely completely spotless clean for liquid metallics. I love the look, but it's never precise... Sometimes there are dark spots within the gold, but I enjoy the imperfections, so it's not a bother to me. Teresa's piece at the right is called End of Days and uses her style of black washes painted on a white surface - Stunning!
The book, on page 50, has an LTT about making metal balls. I have done it the way described for decades. But Merry-Lee Rae has a video of Tips and Tricks in which she shows a different set up that I think is an improvement over just using a hard charcoal block in a metal pan. See this photo of her set up below, but see the free video for more information.On retrieving the balls - Most end up in the groove on the white block or still on the charcoal. She pours them into a soup bowl. Then a mighty blow and the charcoal dust flies out and all she has left are beautiful little granules. BTW - she has quite a few other terrific tips so this is worth watching for more than metal balls!
The book talks about making coils to get balls of a consistent size. But Merry-Lee uses this gadget designed by Kent Raible.
On page 40 of the book, Liana Pattihis has an LTT on her invention of Enamel Leaf. One could also call this enamel lace. Liana tells how to make this lacy looking fused enamel that can then be fused onto another piece, usually it as a supplement. I have been experimenting with it. Liana always uses it on either her wirework or chain pieces, but I fused it to a flat surface. My test firiing resulted in a fabulous granular texture that so far I have not been able to duplicate! But I still like my results. Here are some photos.