by John Killmaster
Enamel Transparent Watercolors
Possibilities and Permanence
In high school, I began to be serious about becoming an artist and bought some watercolors and poster colors, determined to master the mediums! Later I discovered gouache (opaque watercolor) and acrylic, so I no longer painted in transparent watercolor.
Recently, a friend gifted me free membership to the Idaho Watercolor Society. The imposition of membership in a watercolor society demanded that I again work in the medium to create something new – what could be more unusual than a watercolor that is water proof and will not fade.
Enamel watercolor has opened exciting working possibilities and is quite forgiving if contrasted with watercolor on paper.
- Make a misdirected brush stroke? Wipe it away
- There is little preparation, such as stretched paper, since a metal surface is unaffected by water, warp and shrinkage.
- Unlike watercolor on paper highlights can be introduced by lifting them off, eliminating much preplanning.
- Once fired, additional layers do not disturb earlier colors.
- Colored wash layering will not result in “mud,” since firing clarifies colors, similar to varnishing; multiple layering richly intensifies color, since we are working with glass, not matte pigment.
- Throughout the painting process and in the final states an overall color may be used to unify the painting allowing underlying color to be uncovered by wiping away the over all layer. This is not possible with watercolor on paper.
- Bright light will not fade enamel watercolor rather it enhances richness of the colors.
- Heat, cold, rain or snow has no negative impact on enamel watercolor.
I have displayed my art outside, where no other watercolors would survive. It is very important not to over-fire; enamel watercolor must be fired no hotter than 1350°F.
- If all goes wrong, either remove mistakes by stoning, or re-coat the surface with opaque white porcelain enamel.
- As in watercolor on paper, colors will lighten (when fired), so work darker and richer than intended. Under-firing is advisable in the early stages.
My job, now, is to encourage traditional watercolorists to leave paper behind to explore the new world of enamel watercolor on metal panels.
White coated enamel iron tiles (18 gauge) and steel plates (28 gauge) and watercolor enamels are readily available from Thompson Enamel.
GRACE and SMOKEY
1. This enamel watercolor began as an enamel crayon
sketch establishing large shapes
---------------------
2. Areas of light and shade are layered on using a wide
watercolor brush.
---------------------
3. Background areas are painted with related color
to establish an overall color mood.
-----------------
4. Enamel crayon is used to refine and detail lips
and some edges.
------------------
5. Midtones are completed with the wide brush
and green and black are painted with a small
pointed brush. First firing for two minutes at 1325F.
------------
6. Blue, red and black are added and the panel is
fired for two minutes at 1325F.
---------------
7. Colors change as the fired panel cools.
----------------
8. The image was analyzed and it was necessary to strengthen
most colors. Details were added to the eyes, mouth, nose
and hair on both Grace and Smokey.
-------------
9. The panel seen as it cools after firing at 1325F
for two minutes.
--------------
10. Refinements were added on the shadow side hair
of both Grace and Smokey along with white crayon
whiskers. Final firing at 1340F for two minutes.
------------
The finished piece.
Thanks to John Killmaster and W.W. Carpenter Enamel Foundation - This article can be found in Glass On Metal, Vol. 31, Number 2, April 2012.
www.glass-on-metal.com
info@glass-on-metal.com
Los Guanajuatenses
1. After washing the panel, a crayon sketch readied the white
enamel panel for a lay-in of initial wet into wet flesh tones.
-------------------
2. Detail showing colors freely intermingling on glossy
white surface, a unique and advantageous
characteristic of enamel watercolor.
------------------
3. Enamel crayon readily combines and becomes part of the painting.
-----------------
4. It is advisable to work freely in early stages,
after all, mistakes can be wiped away to be done
again until things are right.
This aspect of enamel watercolor is very positive and freeing!
---------------
5. Additional color was applied and the piece was
fired for two minutes at 1325F.
---------------
6. Upon firing, a problem area in the man's sombrero,
likely caused by touching and depositing an oily spot,
was repaired with some stoning and additional painting.
-----------------
7. It was obvious that I needed to use a thicker and darker
layer of color on both faces and also lay-in color in
the background, sombrero, and clothes.
-------------------
8. The panel after firing at 1325F for two minutes,
the sombrero's flaw disappeared, and the
flesh tones improved.
----------------
9. Thin blue washes were used to cool and darken the sky,
the man, sombrero, and around the woman's face.
Darks were used to develop more expression in both faces.
Panel was fired for two minutes at 1325 F.
-------------------
10. Unfired final washes. The final firing was 1340F for two
minutes.
-----------------
11. "Los Guanajuatenses,"
Watercolor enamel fired on steel
10 x 8 inches, 2010
by John Killmaster
Enamel Transparent Watercolors
Possibilities and Permanence
In high school, I began to be serious about becoming an artist and bought some watercolors and poster colors, determined to master the mediums! Later I discovered gouache (opaque watercolor) and acrylic, so I no longer painted in transparent watercolor.
Recently, a friend gifted me free membership to the Idaho Watercolor Society. The imposition of membership in a watercolor society demanded that I again work in the medium to create something new – what could be more unusual than a watercolor that is water proof and will not fade.
Enamel watercolor has opened exciting working possibilities and is quite forgiving if contrasted with watercolor on paper.
- Make a misdirected brush stroke? Wipe it away
- There is little preparation, such as stretched paper, since a metal surface is unaffected by water, warp and shrinkage.
- Unlike watercolor on paper highlights can be introduced by lifting them off, eliminating much preplanning.
- Once fired, additional layers do not disturb earlier colors.
- Colored wash layering will not result in “mud,” since firing clarifies colors, similar to varnishing; multiple layering richly intensifies color, since we are working with glass, not matte pigment.
- Throughout the painting process and in the final states an overall color may be used to unify the painting allowing underlying color to be uncovered by wiping away the over all layer. This is not possible with watercolor on paper.
- Bright light will not fade enamel watercolor rather it enhances richness of the colors.
- Heat, cold, rain or snow has no negative impact on enamel watercolor.
I have displayed my art outside, where no other watercolors would survive. It is very important not to over-fire; enamel watercolor must be fired no hotter than 1350°F.
- If all goes wrong, either remove mistakes by stoning, or re-coat the surface with opaque white porcelain enamel.
- As in watercolor on paper, colors will lighten (when fired), so work darker and richer than intended. Under-firing is advisable in the early stages.
My job, now, is to encourage traditional watercolorists to leave paper behind to explore the new world of enamel watercolor on metal panels.
White coated enamel iron tiles (18 gauge) and steel plates (28 gauge) and watercolor enamels are readily available from Thompson Enamel.
GRACE and SMOKEY
1. This enamel watercolor began as an enamel crayon
sketch establishing large shapes
---------------------
2. Areas of light and shade are layered on using a wide
watercolor brush.
---------------------
3. Background areas are painted with related color
to establish an overall color mood.
-----------------
4. Enamel crayon is used to refine and detail lips
and some edges.
------------------
5. Midtones are completed with the wide brush
and green and black are painted with a small
pointed brush. First firing for two minutes at 1325F.
------------
6. Blue, red and black are added and the panel is
fired for two minutes at 1325F.
---------------
7. Colors change as the fired panel cools.
----------------
8. The image was analyzed and it was necessary to strengthen
most colors. Details were added to the eyes, mouth, nose
and hair on both Grace and Smokey.
-------------
9. The panel seen as it cools after firing at 1325F
for two minutes.
--------------
10. Refinements were added on the shadow side hair
of both Grace and Smokey along with white crayon
whiskers. Final firing at 1340F for two minutes.
------------
The finished piece.
Thanks to John Killmaster and W.W. Carpenter Enamel Foundation - This article can be found in Glass On Metal, Vol. 31, Number 2, April 2012.
www.glass-on-metal.com
info@glass-on-metal.com
Los Guanajuatenses
1. After washing the panel, a crayon sketch readied the white
enamel panel for a lay-in of initial wet into wet flesh tones.
-------------------
2. Detail showing colors freely intermingling on glossy
white surface, a unique and advantageous
characteristic of enamel watercolor.
------------------
3. Enamel crayon readily combines and becomes part of the painting.
-----------------
4. It is advisable to work freely in early stages,
after all, mistakes can be wiped away to be done
again until things are right.
This aspect of enamel watercolor is very positive and freeing!
---------------
5. Additional color was applied and the piece was
fired for two minutes at 1325F.
---------------
6. Upon firing, a problem area in the man's sombrero,
likely caused by touching and depositing an oily spot,
was repaired with some stoning and additional painting.
-----------------
7. It was obvious that I needed to use a thicker and darker
layer of color on both faces and also lay-in color in
the background, sombrero, and clothes.
-------------------
8. The panel after firing at 1325F for two minutes,
the sombrero's flaw disappeared, and the
flesh tones improved.
----------------
9. Thin blue washes were used to cool and darken the sky,
the man, sombrero, and around the woman's face.
Darks were used to develop more expression in both faces.
Panel was fired for two minutes at 1325 F.
-------------------
10. Unfired final washes. The final firing was 1340F for two
minutes.
-----------------
11. "Los Guanajuatenses,"
Watercolor enamel fired on steel
10 x 8 inches, 2010
1. This enamel watercolor began as an enamel crayon
3. Background areas are painted with related color
