DRAFT: This module has unpublished changes.

CLOISONNÉ

 

AnnealHeat the metal to around 1400 degrees to burn off impurities. Piece should have a light grey film (fire-scale) and glow slightly (but not s hot as the kiln)    
QuenchPiece should be dropped immediately into cold water. Most of the grey scale should come off with the effect of thermal shock 
PickleA mild acid solution will remove any remaining fire-scale. The piece should be pink and clear. Surface irregularities can be brushed out with a brass or glass brush
NeutralizeSprinkle with baking soda and rinse. Water should sheet off the piece when rinsed. 
Counter-enamelSift a layer of counter-enamel and fire to orange peel 
Pickle/NeutralizeAfter cooling, dust off the excess fire-scale and place the piece in the pickle again, metal side up until pink. Then sprinkle some baking soda on the piece and rinse 
First layerPaint a thin layer of gum binder (Klyr Fire) Sift a thin layer of flux, just enough to cover the pink. Dry completely before firing. 
Fire to TransparencyTransparent colours must be fired HIGH to clear the fire-scale. Transparency is a function of temperature, not time. Flux (left) needs to be held at 1450 for at least 15 seconds. 
Bend WiresUsing copper or silver wire that is higher than it is thinck, create a design of wire walls, creating cells (cloisons) that will hold the enamel colour 
Place wires on FluxDip each wire in gum binder (Klyr Fire) and place it on the flux where you want it. Allow the piece to dry thoroughly before firing. Make sure the wires lie as flat as possible 

Firing the Wires

This is one of the most precise and tricky firings in enamelling. The wires need to float on top of the flux, and yet be fused to it. 

If they sink too far down into the flux you will have problems. Because the precise moment is very hard to see, you can put a few grains of the base flux on a corner of the piece and use that as a guideline. Usually after the small grains of flux disappear – the surface is beginning to melt. Usually 10 – 15 more seconds will be right 
You want the wires just to adhere to the surface of the enamel, but not to sing down. If you are using copper cloisonne wires – you will need to pickle between each firing  

Wet Packing

Put a small amount of enamel in the TOP of the spoon, add water, and then lay the spoon down. The water will flow down into the bowl, and the enamel left at the top will be just the right wetness for packing.

   
Wet PackingApply the enamel with a brush or other small implement. It is important to keep the whole piece wet as you continue to wet-pack. If the enamel on the piece dries before you have added all the colour that you want, it will become difficult to continue 
 The water will wick off of your brush, and it will be impossible to pack. Understanding and controlling the wetness is key to successful wet-packing 
 Dry the piece completely before firing 
Fire at a low temperature with the aim of doing a sugar fire (sugary and shiny surface that has not yet flowed)This was fired a little too long, but it will be fine. The purpose of sugar fire is to maintain the layers physical integrity instead of allowing it to sink into the previous coat 
 Wetpack a second thin coat, using colours that will blend with the ones you have in your first layer 
Continue to aim for a sugar-fireThis is a better example of a sugar fire, though sometimes one colour will melt a little sooner than another 
 Wetpack a third layer continuing to blend colours.  FIre to sugar consistency 
 A fourth thin coat designed to complete the blending of the colours will finish the layers 
 After firing, you should be able to see the first layers, but just slightly 
The surface of the piece should then be stoned (use alundum or carborundum) to an even flat finish.Before a final firing, give it a minute upside down in an ultrasonic cleaner, (or just a simple vibrating cleaner) to clean out the excess dust from stoning. Because enamel is porous under the skin, some dust can get deeply embedded in a piece. 
A final firing will bring the piece to a nice smooth gloss. It is important not to fire too high so that you continue to maintain your layers.For a final fire I usually put the piece in a 1500F kiln and then turn it off. The piece is heating up and the kiln is cooling down. When then meet in the middle the piece is perfectly fired. Time depends on the size of the piece. This piece took 1 minute. 

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DRAFT: This module has unpublished changes.