Green Lantern Marjorie Simon Earrings notes type_of_object Earrings process materials Enamel on Fine Silver 22ct Gold Bi-Metal Pearls Sifted Kiln 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
Transcript
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
