Green LanternMarjorie Simon

Earrings

notes

type_of_objectEarrings

process

materials Enamel on Fine Silver22ct Gold Bi-MetalPearls

SiftedKiln Fired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Blue skeletonMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials EnamelSterling Silver

Sifted on Cast SilverKiln Fired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Yellow Standing Wm Morris BroochMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials Enamel on Embossed CopperSterling Silver

“Drawing” of iron binding wire derived from Wm. Morris wallpaper embossed on copperEnamel SiftedKiln FiredStoned off raised areasRefired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Red Standing Wm Morris BroochMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials Enamel on Embossed CopperSterling Silver

“Drawing” of iron binding wire derived from Wm. Morris wallpaper embossed on copperEnamel SiftedKiln FiredStoned off raised areasRefired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Red Ear DisksMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials Enamel on Embossed CopperSterling Silver

Copper embossed with binding wireSiftedKiln Fired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Red Ear DisksMarjorie Simon

Earrings

notes

type_of_objectEarrings

process

materials Enamel on Embossed Copper

SiftedKiln Fired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Field of BlossomsMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials Enamel on CopperSterling SilverPearls

Enamel Sifted onto Folded CopperKiln FiredSmall Blossoms Torch Fired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Blue DavidMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials Enamel on CopperBronzeVintage PostcardPolyester (Acetate)

SiftedKiln Sugar FiredConstructedRiveted

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Box of BlossomsMarjorie Simon

Brooch

notes

type_of_objectBrooch

process

materials Mild SteelEnamel on Fine SilverAltered PhotographPearls

Blossoms Torch FiredBox Fabricated from Steel Sheet

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

Ring CandyMarjorie Simon

Ring

notes

type_of_objectRing

process

materials Enamel on Embossed CopperSterling Silver22ct Gold Bi-Metal

Copper Embossed with Binding WireEnamel SiftedTorch Fired

My approach is that of a metalsmith throwing a skin of glass on a metal form. I use bold opaque colors almost exclusively and a simple, shake-and-bake method of application of the powdered enamel. I prefer old Thompson leaded enamels or new leaded enamels. Most firing is done in the kiln, but I still torch-fire small elements with or without counter enameling. I enjoy figuring out the construction of jewelry that will contain enameled elements, which may be die-formed, fold-formed, or embossed using the hydraulic press. Recently I’ve been making line drawings with iron binding wire and embossing the “drawing” onto copper, enameling it and then stoning off the raised areas. I quickly flash-fire the piece to oxidize the copper and reveal the black line.

Technical

UntitledIke Jünger2002

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

A3Patrizia Bonati2003

Ring

notes

type_of_objectRing

process

materials EnamelGold

Technical

Rt6Patrizia Bonati2003

Necklace

notes

type_of_objectNecklace

process

materials EnamelGold

Engraved with Twisted Gold Wires

Technical

Se3Patrizia Bonati2003

Earrings

notes

type_of_objectEarrings

process

materials EnamelGold

Engraved with Twisted Gold Wires

Technical

G6Patrizia Bonati2003

Brooch

notes

type_of_objectBrooch

process

materials

Technical

UntitledIke Jünger2003

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

UntitledIke Jünger2004

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilver

Technical

UntitledIke Jünger2004

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

UntitledIke Jünger2004

Necklace

notes

type_of_objectNecklace

process

materials EnamelSilverGold

Technical

F2Patrizia Bonati2005

Brooch

notes

type_of_objectBrooch

process

materials EnamelGold

Technical

A7Patrizia Bonati2005

Brooch

notes

type_of_objectBrooch

process

materials EnamelGold

Technical

UntitledIke Jünger2005

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

Rolling LandscapesAnn Little2005

Necklace

notes

type_of_objectNecklace

process

materials EnamelSilver

SiftedKiln Fired

I use powdered enamel sprinkled onto the surface of the metal with a sieve, applying gum first if necessary. I usually apply about 4 or 5 layers of enamel andthen use a carborundum stone and wet and dry paper to rub back to a matt surface.

Technical

Light and ShadeAnn Little2005

Necklace

notes

type_of_objectNecklace

process

materials EnamelSilver

SiftedKiln FiredMatted with Stone and paper

I use powdered enamel sprinkled onto the surface of the metal with a sieve, applying gum first if necessary. I usually apply about 4 or 5 layers of enamel andthen use a carborundum stone and wet and dry paper to rub back to a matt surface.

Technical

Shifting ViewAnn Little2005

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilver

SiftedKiln FiredMatted with Stone and paper

I use powdered enamel sprinkled onto the surface of the metal with a sieve, applying gum first if necessary. I usually apply about 4 or 5 layers of enamel andthen use a carborundum stone and wet and dry paper to rub back to a matt surface.

Technical

ChangingAnn Little2005

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilver

SiftedKiln FiredMatted with Stone and paper

I use powdered enamel sprinkled onto the surface of the metal with a sieve, applying gum first if necessary. I usually apply about 4 or 5 layers of enamel andthen use a carborundum stone and wet and dry paper to rub back to a matt surface.

Technical

UntitledVera Siemund2005

Necklace

notes

type_of_objectNecklace

process

materials Enamel on Steel

SawnEnamelled

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

Mother’s Little HelperJessica Calderwood2006

Brooch

notes

type_of_objectBrooch

process

materials Enamel on CopperSterling SilverPearlsSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Candy Coated DreamsJessica Calderwood2006

Brooch / Pendant

notes

type_of_objectBrooch / Pendant

process

materials Enamel on CopperSterling SilverCoralSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Eve’s AppleJessica Calderwood2006

Brooch / Pendant

notes

type_of_objectBrooch / Pendant

process

materials Enamel on CopperSterling SteelCherry QuartzSteelBrass

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Eve’s Apple (back)Jessica Calderwood2006

Brooch / Pendant

notes

type_of_objectBrooch / Pendant

process

materials Enamel on CopperSterling SilverCherry QuartzSteelBrass

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

UntitledVera Siemund2006

Necklace

notes

type_of_objectNecklace

process

materials Enamel on CopperSilver

ChasedMountedPrinted Portraits Enamelled

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

Blue RoseAnnamaria Zanella2006

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverResins

SolderedAssembledEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

InsideAnnamaria Zanella2006

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

Aria 2°Annamaria Zanella2006

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverResins

EnamelledAssembled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

MarktAnnamaria Zanella2006

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

ColorsCarola Bauer2007

Necklace

notes

type_of_objectNecklace

process

materials EnamelSilver

SolderedEnamelledAssembled

Technical

Ciel blanc casséCarola Bauer2007

Necklace

notes

type_of_objectNecklace

process

materials Enamel on SilverGold

SolderedEnamelledAssembled

Technical

ApfelschalenCarola Bauer2007

Necklace

notes

type_of_objectNecklace

process

materials Enamel on SilverGold

SolderedEnamelledAssembled

Technical

SchaumkroneCarola Bauer2007

Necklace

notes

type_of_objectNecklace

process

materials Enamel on SilverGold

SolderedEnamelledAssembled

Technical

LuftovaleCarola Bauer2007

Necklace

notes

type_of_objectNecklace

process

materials Enamel on SilverGold

SolderedEnamelled

Technical

Infini bleuCarola Bauer2007

Necklace

notes

type_of_objectNecklace

process

materials Enamel on Silver

SolderedEnamelledAssembled

Technical

SpanCarola Bauer2007

Ring

notes

type_of_objectRing

process

materials Enamel on Silver

SolderedEnamelled

Technical

Sleeping BeautiesJessica Calderwood2007

Rotating Pendant / Brooch

notes

type_of_objectRotating Pendant / Brooch

process

materials Enamel on CopperSterling SilverBrass18ct Gold Lustre

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Waiting to CurlJessica Calderwood2007

Brooch / Pendant

notes

type_of_objectBrooch / Pendant

process

materials Enamel on CopperSterling SilverSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Personal MaintenanceJessica Calderwood2007

Brooch / Pendant

notes

type_of_objectBrooch / Pendant

process

materials Enamel on CopperSterling Silver18ct Gold FoilSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

UntitledIke Jünger2007

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

UntitledVera Siemund2007

Brooch

notes

type_of_objectBrooch

process

materials Enamel on Copper

MountedPrinted Portraits Enamelled

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

MuffeAnnamaria Zanella2007

Necklace

notes

type_of_objectNecklace

process

materials EnamelSilverGold

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

Bionic Heart, greenAnnamaria Zanella2007

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

Rotondo dueCarola Bauer2008

Necklace

notes

type_of_objectNecklace

process

materials Enamel on Silver

SolderedEnamelledAssembled

Technical

BlinkJessica Calderwood2008

Brooch – double sided, rotating

notes

type_of_objectBrooch – double sided, rotating

process

materials Enamel on CopperSterling SilverSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Blink (detail)Jessica Calderwood2008

Brooch – double sided, rotating

notes

type_of_objectBrooch – double sided, rotating

process

materials Enamel on CopperSterling SilverSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

SymmetryJessica Calderwood2008

Brooch

notes

type_of_objectBrooch

process

materials Enamel on Copper18ct Gold FoilSterling SilverSteel

Limoges RenderingFabricated Metal

I begin by loosely sketching with a ceramic under-glaze pencil (oxide, no glass) on an etched enamel ground. I use blending stumps and wooden scribes to blend and create subtle gradations with the pencil. I then fire my drawing to set it in the enamel surface.

Once the first layer is fired, I begin intensifying the values throughout the piece by painting with a black over-glaze and squeegee oil. I mix different washes on a palette by varying the proportions of over-glaze to oil. I paint very thin layers and fire my piece between each application. I use toothpicks and dry paintbrushes to remove unfired over-glaze and bring back lighter values.

I also use sifted enamels to create soft washes of color in my drawings. I paint squeegee oil on my piece, sift the enamel into the oil and tap off the excess. The enamel sticks anywhere I painted the oil.

Technical

Boulder sugaryMirjam Hiller2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopperSilverStainless Steel

ElectroformedSiftedSugar Fired

Technical

Boulder orangeMirjam Hiller2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopperSilverStainless Steel

ElectroformedSiftedSugar Fired

Technical

Boulder redMirjam Hiller2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopperSilverStainless Steel

ElectroformedSiftedKiln Fired

Technical

Oval blackMirjam Hiller2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopperSilverStainless Steel

ForgedSiftedKiln Fired

Technical

Collar blackMirjam Hiller2008

Necklace / Collar

notes

type_of_objectNecklace / Collar

process

materials EnamelCopper

PressedFoldedSiftedKiln Fired

Technical

Snake pinkMirjam Hiller2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopper

PressedFoldedSiftedKiln Fired

Technical

UntitledIke Jünger2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilver

Technical

UntitledIke Jünger2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

TentakelwesenIsabell Schaupp2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilver

SiftedPhoto TransferKiln Fired

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Buzzing thoughtsIsabell Schaupp2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilverWasps NestAcrylicsTextiles

SiftedPhoto TransferKiln FiredCrochetedSolderedSewn

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Two funnel towersIsabell Schaupp2008

Necklace

notes

type_of_objectNecklace

process

materials EnamelPhotographCopperSilver

SiftedPhoto TransferKiln FiredSoldered

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

UntitledVera Siemund2008

Brooch

notes

type_of_objectBrooch

process

materials Enamel on CopperSilver

ChasedEnamelledPrinted Portrait EnamelledSet

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

UntitledVera Siemund2008

Brooch

notes

type_of_objectBrooch

process

materials Enamel on CopperSilver

ChasedMountedEnamelledSet

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

BirchAnnamaria Zanella2008

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

Lost 2Carola Bauer2009

Ring

notes

type_of_objectRing

process

materials Enamel on Silver

SolderedEnamelled

Technical

En P.Carola Bauer2009

Ring

notes

type_of_objectRing

process

materials Enamel on Silver

SolderedEnamelled

Technical

Textured Enamel Series #2Stacey Bentley2009

Brooch

notes

type_of_objectBrooch

process

materials IronEnamelSilverSteel

CastSiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #3Stacey Bentley2009

Brooch

notes

type_of_objectBrooch

process

materials IronEnamelSilverSteel

CastSiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #4Stacey Bentley2009

Brooch

notes

type_of_objectBrooch

process

materials IronEnamelSilverSteel9ct Red Gold

CastSiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #6Stacey Bentley2009

Brooch

notes

type_of_objectBrooch

process

materials IronEnamelSilverSteel

CastSiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #8Stacey Bentley2009

Ring

notes

type_of_objectRing

process

materials IronEnamelSilver

SiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #9Stacey Bentley2009

Ring

notes

type_of_objectRing

process

materials IronEnamelSilver

SiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #10Stacey Bentley2009

Brooch

notes

type_of_objectBrooch

process

materials IronEnamelSilverSteel

SiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #12Stacey Bentley2009

Ring

notes

type_of_objectRing

process

materials IronEnamelSilver9ct Red Gold

SiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series # 13Stacey Bentley2009

Brooch

notes

type_of_objectBrooch

process

materials IronEnamelSilverSteel9ct Red Gold

SiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Textured Enamel Series #15Stacey Bentley2009

Necklace

notes

type_of_objectNecklace

process

materials IronEnamelSilverSteel Cable

SiftedDippedMatted

I firstly apply industrial enamel processes to small-scale pieces of jewellery. Iron wire is dipped and painted with industrial liquid enamel and fired in a kiln. The gritty and rough textures are created using powder enamels that are under-fired yet fused successfully into the layers of liquid enamel.

The shine is stripped from the surface of the enamel using matting salts.

Areas of enamel are then rubbed back to reveal the patterns of wire initially created underneath.

Technical

Oval redMirjam Hiller2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopperSilverStainless Steel

ForgedSiftedSugar Fired

Technical

Oval blackMirjam Hiller2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelCopperSilverStainless Steel

ForgedSiftedKiln Fired

Technical

UntitledIke Jünger2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGold

Technical

Coral Red Snake Chain Liana Pattihis2009

Brooch

notes

type_of_objectBrooch

process

materials Silver Snake ChainCopperEnamelStainless Steel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black Trace Chain Single Link 02, (detail)Liana Pattihis2009

Necklace

notes

type_of_objectNecklace

process

materials Silver Trace ChainEnamel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Coral Red Single Link 01Liana Pattihis2009

Necklace

notes

type_of_objectNecklace

process

materials Silver Trace ChainEnamel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black Trace Chain Link 01Liana Pattihis2009

Brooch

notes

type_of_objectBrooch

process

materials Silver Trace ChainCopperEnamelStainless Steel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black Round Link 01Liana Pattihis2009

Necklace

notes

type_of_objectNecklace

process

materials Silver Round Link ChainEnamel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black Trace Chain Single Link 01 (detail)Liana Pattihis2009

Necklace

notes

type_of_objectNecklace

process

materials Silver Trace ChainEnamel

SiftedKiln FiredPainted

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, Ia do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black Box ChainLiana Pattihis2009

Brooch

notes

type_of_objectBrooch

process

materials Silver Box ChainCopperEnamelStainless Steel

SiftedDraggedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black single line 01Liana Pattihis2009

Necklace

notes

type_of_objectNecklace

process

materials Silver Trace ChainEnamel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Shades of Black Link 01Liana Pattihis2009

Brooch

notes

type_of_objectBrooch

process

materials Silver Trace ChainEnamel

SiftedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Coral Red Gold Chain 02Liana Pattihis2009

Brooch

notes

type_of_objectBrooch

process

materials 18ct Gold ChainCopperEnamelStainless Steel

SiftedDraggedKiln Fired

The enamelling methods I devised and follow are very unconventional. Unlike traditional enamelling, I do not degrease or prepare the surface to be enamelled in any way. I experiment with different fixing agents in various consistencies. Depending on the finish I want to achieve, I either paint or sift enamel onto the surface of the chain, or drag the chain directly into the dry enamel. Firing temperatures vary according to the fixing agents used, and also the type of chain. I mainly prefer shorter and more frequent firings to ensure that the integrity of the chains I use remains intact.

Necklaces that are made up of separate chain links are interlinked before firing so that they are fired as one piece. This is a far more laborious method than firing each link separately and assembling after firing, as the links tend to change shape and stick to one another. The results however are more rewarding as the final piece is uniform in colour texture and pattern.

Technical

Big mouthIsabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilverTextilesWoodAcrylics

SiftedPhoto TransferKiln FiredCrochetedSolderedSewnRiveted

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Treeflower No.9Isabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilverWoodAcrylics

SiftedPhoto TransferKiln FiredCrochetedSolderedSewn

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Month Brooch No.5Isabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilverIron

SiftedPhoto TransferKiln FiredSoldered

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Month Brooch no.6Isabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperIronWhite AgateSilver

SiftedPhoto TransferKiln FiredSolderedSewn

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Month Brooch No.12Isabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilverIronLacquer

SiftedPhoto TransferKiln FiredSolderedSewnRivetedCoated

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Month Brooch No.1Isabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperIronSilverLacquerCoral

SiftedPhoto TransferKiln FiredSolderedSewnCoated

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

Month Brooch No.8Isabell Schaupp2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelPhotographCopperSilverIron

SiftedPhoto TransferKiln FiredCrochetedSoldered

Enamel plays an important role in my jewellery work. I use mainly the method of sifting and a special technique of photo transfer. Except for my rings and small parts – which I enamel via torch firing - the pieces are kiln fired.

After the process of enameling I add other elements to the ‘bodies’ like fine wire structures, fabrics, wood, stones, etc.

Technical

UntitledVera Siemund2009

Brooch

notes

type_of_objectBrooch

process

materials Enamel on CopperSilver

MountedPrinted Portraits Enamelled

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

UntitledVera Siemund2009

Necklace

notes

type_of_objectNecklace

process

materials Enamel on CopperSilver

EmbossedMountedHand-PaintedEnamelled

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

UntitledVera Siemund2009

Necklace

notes

type_of_objectNecklace

process

materials Enamel on CopperSilver

EmbossedMountedHand-PaintedEnamelled

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

UntitledVera Siemund2009

Pendant

notes

type_of_objectPendant

process

materials Enamel on CopperSteelSilver

ChasedEnamelledSawnMounted

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

Script series Jessica Turrell2009

Brooch

notes

type_of_objectBrooch

process

materials CopperVitreous EnamelSilverGold Foil

Photo-EtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

ScribbleJessica Turrell2009

Pendant

notes

type_of_objectPendant

process

materials Oxidized SilverCopperVitreous EnamelLinen Thread

PiercedConstructedSiftedSugar Fired

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

Medal of (be)longing seriesJessica Turrell2009

Brooch / Medal

notes

type_of_objectBrooch / Medal

process

materials CopperVitreous EnamelSilverGold foil

Photo-EtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

Medal of (be)longing seriesJessica Turrell2009

Brooch / Medal

notes

type_of_objectBrooch / Medal

process

materials CopperVitreous EnamelSilver

Photo-EtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

‘red/black, black/red’Jessica Turrell2009

Brooch / Medal

notes

type_of_objectBrooch / Medal

process

materials Oxidized SilverCopperVitreous Enamel

PiercedConstructedSiftedSugar Fired

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

Scrip series Jessica Turrell2009

Brooch

notes

type_of_objectBrooch

process

materials CopperVitreous EnamelSilver

Photo-EtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

PapaveriAnnamaria Zanella2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverResins

AssembledEnamelledWaxed

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

MelogranoAnnamaria Zanella2009

Brooch

notes

type_of_objectBrooch

process

materials EnamelSilverGlass Pearls

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

LipsAnnamaria Zanella2009

Ring

notes

type_of_objectRing

process

materials EnamelSilverGlass Pearls

ForgedSolderedEnamelled

I use enamel as a painting. My jewellery pieces are small sculptures and the sense of the contemporary jewellery art is give concepts and intellectual valuesto the piece.

The enamel is now, as in the past, the best material to fix colours on a jewel forever.

Especially for me, the result, every result when I cook an enamel piece in the special oven is an incredible emotion. I usually use the traditional, academic rules of work in enamel technique but… many times. I use experiments and unusual methods to arrive at new results.

Technical

UntitledVera Siemund2010

Necklace

notes

type_of_objectNecklace

process

materials Enamel on SteelSteelSilver

SawnEnbossed and ChasedEnamelledMounted

During the last years I worked only with industrial enamel (slurry/ dross). I use steel or copper as backing material. I paint by hand many motifs but I also useprints, which I burn on a pre-enamelled surface. The enamelled shapes are mostly chased, embossed or sawn manually.

I don’t use technical precast/ preformed shapes but make them myself in an old-fashioned manner.

Technical

Script series Jessica Turrell2010

Necklace

notes

type_of_objectNecklace

process

materials CopperVitreous EnamelSilverGold Foil

Photo-EtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

Script series Jessica Turrell2010

Pendant

notes

type_of_objectPendant

process

materials CopperVitreous EnamelOxidized Silver

Photo-EtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

UntitledJessica Turrell2010

Pendant

notes

type_of_objectPendant

process

materials CopperSilverVitreous Enamel

ElectroformedEtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical

UntitledJessica Turrell2010

Brooch

notes

type_of_objectBrooch

process

materials CopperSilverVitreous Enamel

ElectroformedEtchedConstructedSiftedChemically Matted

Most recent work includes two distinct strands of work. The first uses etching techniques to create a tracery of text and text-like repeated mark.

The vessel forms are the result of an investigation into the use of electroforming as a method for the creation of seam-free three-dimensional forms that canbe enamelled in the round. These pieces used layered enamelled that is built up and then selectively removed to re-expose underlying marks and concealedcolour.

Technical