As a bursary applicant to the Guild of Enamelers I got a place on the Scottish region’s annual workshop in Edinburgh. Maureen Carswell led the workshop on foil based pieces. I worked with a slightly heavier gauge and produced three and a half samples:-
Piece 1 was torch fired, a soft white enamel over a liquid clear flux.
Piece 2, a stitched vessel, was kiln fired- a black enamel on clear flux inside and the soft white on the outside. The copper is tied with binding wire
Piece 3 is a development of this stitched vessel design, but with white liquid flux inside under the sifted black and a clear flux outside.
Piece 4 is an unfinished dish, but is again soft white over a white liquid flux, with rather pleasing brush marks.
My first undiscovered landscape piece that draws inspiration from the land around New Paltz NYS.
The black walnut was a tree used by the native Americans who managed the woodland and planted walnut and other nut trees. This walnut is from Huguenot Street in New Paltz.
Black walnut, copper, enamel, labradorite
An early model used the native american tinkle cones to give a surround to the walnut and had the finger prints nearer the central piece.
This is the piece nearly finished. At end of term crit Jamie Bennett suggested the piece was insufficiently original, I quite like that it is unassuming, but I think I prefer an earlier version with copper beads, there is too much labrodorite – chosen as having stronger links with the locality than the copper. I might revisit it to make it more to my liking.
This was our first project – a technical challenge to try and reproduce colours using sifted, wet packed and painted enamel. Final coat under fired to give a matt surface.
This is my first cloisonné. I learnt that the wet packing enamel should not be re-wetted (that’s why it’s pitted) Again the piece is filed and polished back to give a matt finish.
This was my first painting sample using water based paints – it’s great fun
I oxidised the chain for this pendant that is stencilled enamel – a sample piece from the Edinburgh workshop that I made into a necklace as it’s quite pretty. Liver of sulphate really pongs, but does the trick.
Another workshop at Precious Metal Workshop in Edinburgh. This time on enamel – not as easy as it seems. We did test pieces on pre cut samples. I started a final cloisonne piece based on my Isle of May medal project, but only got as far as sinking the wires (and counter enamelling the piece)