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Copyright (C) Michael Stevens, 2001 - 2006. All rights reserved. CAUTION: Follow these instructions at your own risk -- they are for adult jewelers experienced in the safe use of torches. Torches and gasses are dangerous if mishandled. Burns and explosions can occur. Eye protection and lung protection should be used. Get safety instruction before using them. The instructions for a home brew exhaust system here may help.Michael Stevens will assume no responsibility whatever for injury or damage.
This page is not a complete course in enameling -- just a description of one method of firing small pieces. Check your local library for a complete work on enameling. Untracht and Bates briefly mentioned the method in their books from the early 1950's, and it is covered in Linda Darty's 2004 The Art of Enameling.. This is my own take on how it should be done. For jewelry size pieces, I believe it is better than a kiln because it gives you better control of the firing.
Here's the complete setup, including the propane tank with regulator, hoses, torch, ring stand, screen, and improvised furnace.
You can also use an oxy-propane torch (left) or an air-acetylene torch (right). Oxy-propane gives you more control of how much the atmosphere is going to be reduced or oxidized. I have also had good results from a Smith oxy-acetylene 'Little Torch' lately. Normally, a neutral flame works best, since it has the least chemical effect on the workpiece. With oxygen torches, an attack and withdraw technique is particularly necessary to prevent overheating. It is also important with oxygen torches to choose a tip that is small enough to allow you not to overheat the piece, and you must move the torch constantly.
Place a screen on the ring stand. A hole just a bit smaller than the trivet is cut in the screen, and the trivet is set into the hole. The hole is not necessary, but you will need a stronger flame without it.
Put the enamel on the trivet.
If the enamel is getting thick, cover the trivet and enamel with a can that is just big enough to go over them. Note the small hole in the top of the can. This makes it a tiny, improvised updraft furnace. Also note the little wire handle -- touch it only with pliers during firing!
You can cut a view window in the front of the can, instead. Discoloring of the enamel is a bit more likely using this kind of furnace. You can also use a larger can with a big window cut out instead of a ring stand. If the glass has not built up very thickly on the piece, you can omit the improvised furnace entirely.
Here is the enamel being fired. Lift the furnace occasionally to check progress. Keep the torch moving. Again, as you near the enamel's melting temperature, use an attack-and-withdraw technique to avoid overfiring.
The back of the piece, which faces down into the flame, will discolor. The top will remain clear. You can play the flame over the top just a bit if you want to purposely discolor it. The result is a somewhat metallic appearance similar to a luster.
If the piece cracks or crazes, withdraw the flame more slowly after the melt and leave the piece under the furnace for a while.
You can fire the counter-enamel first, facing up, then flip the piece over for the face enameling after re-cleaning the face metal.
Or, (and this is the method I usually use) just put a bit of counter-enamel on the back with each firing of the front. The counter-enamel will discolor from the flame, but on most enamels this makes no difference. Sometimes a bit of the counter enamel on the bottom will drip off, but if you keep re-applying a bit of it with each firing, you will get a good covering. I have no trouble with the face of my enamels cracking using this method. Just paint a light coat of KlyrFire on the back, and sift a very light coat of counter enamel on with each firing. Be sure that the piece is dry before firing.
