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Great tutorial! Thannk you so much for all the work you put into this process!
Jean
Great tutorial! Thannk you so much for all the work you put into this process!
Jean
Thank you Jean,
Chris does an incredible job of producing an indepth step by step for the beginner. Especially learning how to place the torch. I am not a "torcher" so this was very educational for me. Bravo! Chris
Thank you Jean,
Chris does an incredible job of producing an indepth step by step for the beginner. Especially learning how to place the torch. I am not a "torcher" so this was very educational for me. Bravo! Chris
Nice tutorial! I would like to know more about the leaded enamels and torch firing. Chris mentioned that they react differently from the unleaded Thompson enamels. Can't wait to see another demo at the upcoming FSGNE workshop in January!! Great shot of the "Maine Coon Boxer"
Nice tutorial! I would like to know more about the leaded enamels and torch firing. Chris mentioned that they react differently from the unleaded Thompson enamels. Can't wait to see another demo at the upcoming FSGNE workshop in January!! Great shot of the "Maine Coon Boxer"
When you show the torch starting out lower...then you move it up over the last 4 pictures. How much time elapses? Is it a slow process to move up to fire?
Michelle
When you show the torch starting out lower...then you move it up over the last 4 pictures. How much time elapses? Is it a slow process to move up to fire?
Michelle
Nice - I noticed the gold foil became crosses. What did you do to make them crosses. Did you scrape the foil before firinf or after?
Nice - I noticed the gold foil became crosses. What did you do to make them crosses. Did you scrape the foil before firinf or after?
Fantastic tutorial, thank you!
Please. how is your torch setup so that you can raise and lower it during firing?
Fantastic tutorial, thank you!
Please. how is your torch setup so that you can raise and lower it during firing?
The torch is manipulated by hand...the trivet support is a heavy guage soldering screen with a 1"x1"hole sawn in the middle so that the flame is not impeded by a heat sink...the trivet is placed over the hole..the trivet support is placed on 4 firebricks..2 firebricks per side...the flame is confined to the space between the firebricks...look at the other tutorials and you should understand the sequence for torch firing enamels.
The torch is manipulated by hand...the trivet support is a heavy guage soldering screen with a 1"x1"hole sawn in the middle so that the flame is not impeded by a heat sink...the trivet is placed over the hole..the trivet support is placed on 4 firebricks..2 firebricks per side...the flame is confined to the space between the firebricks...look at the other tutorials and you should understand the sequence for torch firing enamels.
Chris, what a great tutorial! I love your attention to detail in the photos..."a picture is worth a thousand words". I still have so much to learn from you. Keep on keepin' on...
Kelley Dragon
Chris, what a great tutorial! I love your attention to detail in the photos..."a picture is worth a thousand words". I still have so much to learn from you. Keep on keepin' on...
Kelley Dragon
Chris and Trish
An excellent tutorial! Two questions...
When firing cloisonne in a kiln I've been taught to look for a slight liquid brightness to appear at the base of the wires, indicating that they are fusing to the flux. The object is then withdrawn from the kiln immediately to avoid the flux creeping up the wires. Is this the same with using a torch or do you look for some other indicator of when to remove the heat?
I have not been using IR3 glasses but have been considering doing so even when using my kiln. To what extent do these restrict vision; for example, would it be possible to see the brightness (whether torch or kiln firing) at the base of the wires while using these glasses?
Again, nice job on the tutorial. You really have this "down pat"!
Ramsay
Chris and Trish
An excellent tutorial! Two questions...
When firing cloisonne in a kiln I've been taught to look for a slight liquid brightness to appear at the base of the wires, indicating that they are fusing to the flux. The object is then withdrawn from the kiln immediately to avoid the flux creeping up the wires. Is this the same with using a torch or do you look for some other indicator of when to remove the heat?
I have not been using IR3 glasses but have been considering doing so even when using my kiln. To what extent do these restrict vision; for example, would it be possible to see the brightness (whether torch or kiln firing) at the base of the wires while using these glasses?
Again, nice job on the tutorial. You really have this "down pat"!
Ramsay
