Enamel Tools for Metal Artists

Although I haven’t used metal clay very much, I have to admit they keep coming up with new, intriguing products that make me want to give it a try. A new product called rainbow Metal Clay Ultimate Enameling Kit seems like an interesting way to exploit the “plastic” quality of metal clay—you can mix colored enamel right in before you fire it. To me, this seems like a way to replicate the look of anodized titanium or aluminum. You can also add the enamel color after the metal clay has been fired. This kit works with low fire clays, and includes a complete instruction manual. I’ll have to check this product out sometime soon, because it really got me thinking about getting the look of textured or forged anodized titanium without the inherent difficulties of working with it.

Another kit that came  across my desk is called Its Colors—by Sherri Haab designs, and works on metal clay and other non-porous materials. Powdered pigments are mixed with a liquid binder and painted on bare metal. Then, you use a heat gun to set the color to make it hard and durable. I haven’t figured out exactly what I’ll do with these, but I know one thing for sure—if the colors turn out to be compatible with 2-part epoxy resin, I’ll definitely be putting them to use.

I hope to experiment with these kits when I get some time.

Torch Fired Enamels

Torch firing enamels is a somewhat hair-raising experience, because the results are completely unpredictable. Oxides from the metal will mix with the molten glass as you put the work

to the torch, and often beautiful speckled, pock marks or “stained” areas of green, black, or golden brown  will leach into the glass as you fire.

1 Work in a well-ventilated studio when you torch fire. Your piece might smoke as the adhesive burns away, especially if you are using an oil based product.

2 A propane-fueled torch burns cleaner, so invest in a portable propane plumbing torch from the hardware store if you’d like to try this technique.

3 Keep the piece at the base of the flame to avoid excess oxidation. Fire from the underside to preserve the color of the glass on the front, and fire until the color of the work is an overall, glowing brilliant red. Cool the work on a stilt or heatproof Pyrex dish before moving it.