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Painting with Fire (PWF) is the name given to an immersion process for creating torch fired enamel jewelry. This process is the focal point of torch fired enamel jewelry workshops taught by Barbara A. Lewis, written about in her book, and discussed in Belle Armoire Jewelry, [1] [2] [3] Handcrafted Jewelry, [4] Bead Trends, [5] Stringing [6] and Bead Unique. [7]
Historically, enameling is the application of glass-on-metal (See vitreous enamel). Traditional enameling methods, such as Cloisonné and Grisaille, require expensive kilns and often years of training and experience.
The torch firing of enamel, a process that requires a fuel source such as propane or map gas, is inexpensive and accessible to the jewelry artist who has neither the time nor the financial resources to create a traditional enamel studio.
The predominant process for producing torch fired enamel jewelry involves placing a cold and pre-washed metal piece (typically copper) on a tripod, heating the piece with a hand-held gas-fueled torch and sifting enamel onto the heated metal. This method, while less expensive than kiln-fired enameling, can be slow and pose significant safety concerns.
More than 40 years ago, Joseph Spencer of Safety Harbor, Florida, pioneered Multi-Torch Fired Enameling [8] Barbara Lewis, a long-time ceramic artist and student of Spencer, has applied Spencer's process to develop the Painting with Fire (PWF) Immersion Process.
Unlike the usual tripod-based torch firing methods, the PWF Immersion Process uses a mounted, inexpensive stationary torch and heating the unwashed cold metal in the flame using a welding tig rod (stainless steel mandrel). The heated metal is then immersed directly into the powdered enamel (Thompson Enamel 80 mesh opaque or transparent), then reheating and repeating the immersion process three times – a total of no more than 60–90 seconds per piece. Using Lewis’ patent pending Bead Pulling Station, [9] the thrice-coated enamel bead is then gently pulled from the mandrel and allowed to fall into a simple bread pan filled with garden vermiculite.
Other kiln and torch firing processes for producing enamel jewelry have typically been limited to pure copper or expensive fine silver. These other methods can be used to enamel sterling silver, but only after completing the laborious process of depletion gilding. With the PWF method, if using transparent enamels in cool colors (blue or green), there is no requirement to heat and dip the oxidized silver into pickling acid. The immersion method involves the same three-times heating and immersion of the sterling piece, attached to the stainless steel mandrel, and coating with transparent enamel.
Lewis’ PWF method also pioneered the enameling of lightweight iron filigree beads. The PWF immersion method allows for artistic variations using multiple combinations of opaque and transparent enamels or reducing the oxygen to create smoky hazes. These variations and other applications of the PWF method are discussed in a "ning" network. [10] The PWF immersion method is the subject of Torch Fired Enamel Jewelry – A Workshop in Painting with Fire. [11]
A kiln is a thermally insulated chamber, a type of oven, that produces temperatures sufficient to complete some process, such as hardening, drying, or chemical changes. Kilns have been used for millennia to turn objects made from clay into pottery, tiles and bricks. Various industries use rotary kilns for pyroprocessing—to calcinate ores, to calcinate limestone to lime for cement, and to transform many other materials.
Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating. The word comes from the Latin vitreum, meaning "glass".
Repoussé or repoussage is a metalworking technique in which a malleable metal is shaped by hammering from the reverse side to create a design in low relief. Chasing or embossing is a similar technique in which the piece is hammered on the front side, sinking the metal. The two techniques are often used in conjunction.
An oven is a tool which is used to expose materials to a hot environment. Ovens contain a hollow chamber and provide a means of heating the chamber in a controlled way. In use since antiquity, they have been used to accomplish a wide variety of tasks requiring controlled heating. Because they are used for a variety of purposes, there are many different types of ovens. These types differ depending on their intended purpose and based upon how they generate heat.
Lampworking is a type of glasswork in which a torch or lamp is used to melt the glass. Once in a molten state, the glass is formed by blowing and shaping with tools and hand movements. It is also known as flameworking or torchworking, as the modern practice no longer uses oil-fueled lamps. Although lack of a precise definition for lampworking makes it difficult to determine when this technique was first developed, the earliest verifiable lampworked glass is probably a collection of beads thought to date to the fifth century BC. Lampworking became widely practiced in Murano, Italy in the 14th century. As early as the 17th century, itinerant glassworkers demonstrated lampworking to the public. In the mid-19th century lampwork technique was extended to the production of paperweights, primarily in France, where it became a popular art form, still collected today. Lampworking differs from glassblowing in that glassblowing uses a furnace as the primary heat source, although torches are also used.
Metal clay is a crafting medium consisting of very small particles of metal such as silver, gold, bronze, or copper mixed with an organic binder and water for use in making jewelry, beads and small sculptures. Originating in Japan in 1990, metal clay can be shaped just like any soft clay, by hand or using molds. After drying, the clay can be fired in a variety of ways such as in a kiln, with a handheld gas torch, or on a gas stove, depending on the type of clay and the metal in it. The binder burns away, leaving the pure sintered metal. Shrinkage of between 8% and 30% occurs. Alloys such as bronze, sterling silver, and steel also are available.
Transfer printing is a method of decorating pottery or other materials using an engraved copper or steel plate from which a monochrome print on paper is taken which is then transferred by pressing onto the ceramic piece. Pottery decorated using the technique is known as transferware or transfer ware.
Glass bead making has long traditions, with the oldest known beads dating over 3,000 years. Glass beads have been dated back to at least Roman times. Perhaps the earliest glass-like beads were Egyptian faience beads, a form of clay bead with a self-forming vitreous coating. Glass beads are significant in archaeology because the presence of glass beads often indicate that there was trade and that the bead making technology was being spread. In addition, the composition of the glass beads could be analyzed and help archaeologists understand the sources of the beads.
Murano beads are intricate glass beads influenced by Venetian glass artists. Since 1291, Murano glassmakers have refined technologies for producing beads and glasswork such as crystalline glass, enamelled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo) and imitation gemstones made of glass.
Overglaze decoration, overglaze enamelling or on-glaze decoration is a method of decorating pottery, most often porcelain, where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature, often in a muffle kiln. It is often described as producing "enamelled" decoration. The colours fuse on to the glaze, so the decoration becomes durable. This decorative firing is usually done at a lower temperature which allows for a more varied and vivid palette of colours, using pigments which will not colour correctly at the high temperature necessary to fire the porcelain body. Historically, a relatively narrow range of colours could be achieved with underglaze decoration, where the coloured pattern is applied before glazing, notably the cobalt blue of blue and white porcelain.
This is a list of pottery and ceramic terms.
A glossary of terms used in glass art
Cizhou ware or Tz'u-chou ware is a term for a wide range of Chinese ceramics from between the late Tang dynasty and the early Ming dynasty, but especially associated with the Northern Song to Yuan period in the 11–14th century. It has been increasingly realized that a very large number of sites in northern China produced these wares, and their decoration is very variable, but most characteristically uses black and white, in a variety of techniques. For this reason Cizhou-type is often preferred as a general term. All are stoneware in Western terms, and "high-fired" or porcelain in Chinese terms. They were less high-status than other types such as celadons and Jun ware, and are regarded as "popular", though many are finely and carefully decorated.
Warm glass or kiln-formed glass is the working of glass, usually for artistic purposes, by heating it in a kiln. The processes used depend on the temperature reached and range from fusing and slumping to casting.
Metal spinning, also known as spin forming or spinning or metal turning most commonly, is a metalworking process by which a disc or tube of metal is rotated at high speed and formed into an axially symmetric part. Spinning can be performed by hand or by a CNC lathe.
Granulation is a jewellery manufacturing technique whereby a surface is covered in spherules or granules of precious metal. The technique is thought to have its origins in Sumer about 5,000 years ago. This technique then spread to southern Europe during the orientalizing period, also through the role of Phoenicians, who had founded colonies in Sardinia, Sicily and Spain, or Near Eastern craftsmen.
China painting, or porcelain painting, is the decoration of glazed porcelain objects such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th century, or soft-paste porcelain, developed in 18th-century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience.
The craft of cloisonné enameling is a metal and glass-working tradition practiced in the Byzantine Empire from the 6th to the 12th century AD. The Byzantines perfected an intricate form of vitreous enameling, allowing the illustration of small, detailed, iconographic portraits.
Enamelled glass or painted glass is glass which has been decorated with vitreous enamel and then fired to fuse the glasses. It can produce brilliant and long-lasting colours, and be translucent or opaque. Unlike most methods of decorating glass, it allows painting using several colours, and along with glass engraving, has historically been the main technique used to create the full range of image types on glass.