TECHNIQUE

INTERMEDIATE/ADVANCED | ENAMEL

Cloisonné,
Champlevé, and
Basse-Taille in
One Pair of
Earrings

How to use three

complementary
enameling
techniques to create
pieces with color and depth.
by Sandra McEwen
 Cloisonné is the process of separating
enamel colors into compartments (called “cloisons”) with thin
gold or silver wires. The wires become a design element, and the spaces
between them are filled in with wet enamel. In traditional cloisonné, the
wire compartments are soldered to the base before enameling; most
contemporary cloisonné is created by firing a clear enamel base coat on
the metal, setting the shaped wires on top, and then fusing the wires to the
enameled surface. The result is an enameled panel that the artist then sets
in a piece of jewelry.

In champlevé, enamel is inlaid directly into
a relatively deep recess in a metal base
(usually silver, copper, or gold), so that
there is no need for a separate setting.
In basse-taille, the artist etches, engraves,
or carves a relatively shallow texture or
pattern into the metal before coating it
with transparent enamel. Typically, varying
depths are carved into the metal base. The
enamel will be darker in the deeper areas
and lighter in the higher areas, creating
a gradient effect.
These earrings combine all three
enameling approaches. The textured
base layer is basse-taille, the fabricated
frame is champlevé, and the spiraled wires
that separate the various colors of enamel
are pure cloisonné.

materials additional tools & supplies

■■ Rubber cement
■■ Fine-silver sheet: 20- or 22-gauge
■■ Bench block, 2
(0.8 or 0.6 mm) (dimensions are
■■ Soft plastic mallet
determined by your design)
■■ Blue Fuse or other copper-bearing
■■ Fine-silver round wire: 20-, 22-, and
fusing solution
24-gauge (0.8, 0.6, and 0.5 mm) or
■■ Fusing station: Fire-resistant surface
ready-made cloisonné wire (length
(soldering pad, charcoal block, or
is determined by your design)
firebrick), torch, steel mesh, tripod, etc.
■■ Powdered enamel:
■■ Bench lathe with a 220-grit belt on a
■■ Leaded, transparent, colors can vary
rubber wheel (optional)
■■ Lead-free in a complementary color,
■■ 220-grit Pressure Sensitive Adhesive
opaque (for counterenamel)
(PSA) disk on a mandrel
■■ Sterling silver ear wires
■■ Wooden forming block

■■ Rolling mill (optional)

NOTE: I prefer to use leaded enamel
■■ Wire cutters
because the colors are more vibrant, but
■■ Double-sided tape
you can also use lead-free.
■■ Large bucket (optional)

■■ Small pick
toolboxes ■■ #00 sable brush
■■ Enameling ■■ Wood paint stirrer (optional)
■■ Sawing/Piercing
■■ Dopping wax (optional)
■■ Finishing
■■ Flexible Diamond strips on a wooden

or plastic stick
■■ Acetone (optional)

■■ Cerium oxide (optional)

FCT-MW-071116_09

©2012 Kalmbach Publishing Co. This material may not be

reproduced in any form without permission from the publisher. facetjewelry.com
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Template
The design process
NOTE: I am working on multiple pairs of
earrings in the process photos — you’ll be
working on just one.
Create your design. Don’t rush through
the design process. Draw lots of sketches,
color them with colored pencils, and don’t
move forward until you are happy with
your final design [1]. Make test tiles of your
enamel colorsto use for reference when
choosing the colors for your design.
Frame and backplate
Pierce the frame.  Print two copies of the
earring frame Template , or draw your
design on paper and make a photocopy
of it. Set the extra copy aside.
Use rubber cement to affix your design
or template to a sheet of 20- or 22-gauge
(0.8 or 0.6 mm) fine silver.
NOTE: A sheet of 22-gauge (0.6 mm) fine
silver is thinner and more delicate than
20-gauge (0.8 mm), and is a good choice
for earrings, since the final product will
be more lightweight.
Drill a hole at the top center of each
frame with a #53 (1/16-in./1.5 mm) drill bit.
Drill a second hole in the center section of
each design with a #68 (1/32-in./0.79 mm)
drill bit [2]. Insert a #2 blade into a jeweler’s
saw, and thread the blade through the
hole in the center section. Pierce the
interior shape, making sure to stay inside
the line [3]. File the inside edge of the
frames with a needle file to remove the
marks left from sawing [4].
Saw out the exterior of each frame, and
file the edges smooth [5].
Prepare the backplate.  Cut two pieces
of fine-silver sheet larger than the frames.
Don’t file the edges of the backplate; you’ll
remove the excess silver after fusing [6].
Fusing
Flatten the silver.  Make sure the frame
sits flush on the backplate. If needed, place
each piece between two bench blocks,
and strike the top block with a soft mallet.
Apply a copper solution.  Clean the
frames and backplates to remove any
grime or oils. Use a clean brush to apply a
copper-bearing fusing solution (I use Blue
Fuse) on the back of a frame [7], and set it
on top of a backplate [8]. Clean off any
excess fusing solution, and allow it to dry.
Repeat for the second assembly.
3
6
TIP: A copper-bearing fusing
solution lowers the melting
temperature where two pieces
of fine silver come in contact
and makes it easier to fuse them.
Fuse the frame to the backplate.  Place
one assembly on a flat piece of steel mesh,
and set it on a soldering tripod [9]. Light
your torch , and gently heat the assembly
from below. Keep the torch moving in a
circular motion.
NOTE: A tripod allows you to heat either
from the top or bottom. Heating from
below helps prevent the smaller top
piece from melting before the fusing
has taken place, and it allows the silver
to reach fusing temperature more
gradually and evenly.
Once the silver has turned a uniform
shade of brick red, look for the first sign
that fusing is about to take place: The
surface of the silver will start to shimmer.
Back off a little with the torch — but
keep it moving — and coax the shimmer-
ing metal around the entire piece, as you
would with solder. Timing and a steady
hand are crucial! If you look closely, you’ll
see a line of shiny silver drawn around the
edges, similar to a solder join.
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NOTE: Fusing takes practice. It’s easy to
overheat your piece and melt the silver
into a sad little puddle. If this is your first
fusing project, practice on small scraps of
fine silver before attempting a larger piece.
When you’re satisfied that the frame
and the backplate are fused, let the silver
cool to room temperature.
When the assembly has cooled enough
to handle, check that the pieces are fused;
there should be no gaps between the
frame and the backplate. If it’s not fully
fused, flatten the assembly between two
bench blocks, add some fusing solution
around the outer edge, and try again.
Repeat to fuse the second frame to
the second backplate.
Finish the edges and backs of the
assemblies.  Cut away the excess silver
from one backplate with the jeweler’s saw.
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Place a #53 (1/16-in./1.5 mm) drill bit
into the hole in the frame, and drill a hole
through the backplate.
Sand the back of one assembly until
it’s smooth. Because it was facing up when
you fused it, the front of the assembly
should be shiny and free of imperfections.
Repeat to finish the second assembly.
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Texture and dome the assembly. Use a
scribe to texture the backplate inside of
each frame. I made straight lines [12], but what type
you can scribe any pattern you like.
Place each assembly face down in a
wooden forming block, and dome each
of torch
piece with a plastic or rubber mallet [13]. should I use?
The size of the torch tip you use will
depend on the size of the pieces you
purchasing your are fusing, but generally, a larger tip
is best, because you will need a lot
first enameling of heat evenly distributed for fusing

File the edges, then sand them smooth
with a 220-grit belt on a rubber wheel
mounted on a bench lathe [10].
NOTE: If you don’t have a bench lathe,
sand the edges with a 220-grit pressure-
sensitive adhesive (PSA) disk mounted on
a rubber mandrel in your flex shaft [11].
You can also sand the edges by hand.
kiln
There’s no need to go overboard
when purchasing your first enameling
kiln. Keep in mind that enamels for
jewelry are usually fairly small, and
smaller kilns heat up faster, which will
save both time and energy. A small
beehive kiln is perfect for this project.
to take place.
I use a Smith “Silver Smith” acetylene-
and-air torch with a #1 soldering tip.
I’ll use a #2 tip if it’s a larger piece. If
the tip is too small, it will be difficult
to heat the piece evenly. If it’s too big,
the silver will heat up very quickly,
and it will be harder to control the
flow once the fusing starts.
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sifting enamels
Clean the surface of your metal with a
wet Scotch-Brite pad to remove all
dirt and oils [A]. Handle the metal only
by its edges to keep it oil free. Use a
paintbrush or a spray bottle to apply
a coat of Klyr-Fire (holding agent) to
one side of your metal piece. Fill a
sifter about one-third full with enamel
powder. Working while the holding
agent is wet, position the sifter above
your metal and gently tap the sifter’s
side to release an even layer of enamel
grains onto your piece [B].
Use a spatula to transfer your piece
to a trivet [C]. Allow the enamel
to dry completely before transferring
the trivet and its mesh support to
the kiln for firing.
A Enameling
B C
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Cloisonné wires
Make your own cloisonné wires.  Use
a rolling mill to flatten 20-, 22-, and
24-gauge (0.8, 0.6, and 0.5 mm) fine-silver
wire [14]. Make sure the height of the wire
is a little more than the depth of the frame.
If you don’t have a rolling mill, you can buy
commercially made cloisonné wire.
NOTE: It’s nice to have at least two thick-
nesses of wire to give the design more
visual depth. I’ll use super-thin wire spirals
but add a thicker spiral occasionally.
Shape the spirals.  Use roundnose pliers
to form one end of a wire into an open
spiral [15]. Use wire cutters to snip the
spiral from the length of wire. Using your
sketch as a reference, make as many spirals
as you need to fill in the design [16].
Cover the photocopy of your design
with strips of double-sided tape, and
arrange the swirls on the tape to hold
them in place until you’re ready to use
them [17].
SAFETY NOTE: Always wear a
particulate respirator when working with
powdered enamels (especially if you use
dry leaded enamels). There may be fine
particles released during the washing and
sifting processes.
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Wash the enamels.  Place a small amount
of enamel in a cup, add distilled water, and
allow the enamel to settle, Pour the cloudy
water into a large bucket (not down the
drain!) [18]. Repeat this process 8–10 times
until the water is perfectly clear.
Repeat to wash each color of enamel.
NOTE: Let the enamel settle in the
bottom of the bucket before disposing
of the water. Carefully collect the waste
enamel powder, store it to use as counter-
enamel, or dispose of it at your municipal
hazardous-waste-recycling center.
Apply the counter enamel.  Heat the kiln
to 1650°F (899°C). Apply a thin coat of Klyr-
Fire to the back of one assembly, and sift
on a layer of enamel. Set the piece on a
metal trivet, and let it dry completely.
NOTE: Air bubbles will likely appear in the
fired piece if the enamel isn’t completely
dry before firing. To dry the enamel faster,
set the trivet on top of the preheated kiln.
Fire the assembly in the kiln until the
enamel is fully fused [19].
Let the assembly cool. Repeat to add
a second coat of counterenamel.
NOTE: To prevent the enamels on the
front of the piece from warping or
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cracking, add at least two coats of counter-
enamel to the back of the piece. I use
lead-free enamel as my counterenamel
to avoid sifting (and breathing) leaded
enamels; pick a color that complements
the design, or use basic opaque black.
Attach the cloisonné wire spirals.  Apply
a thin coat of Klyr-Fire to the front of the
assembly inside the frame, and sift a coat
of clear enamel onto the front [20]. Place
the assembly on a metal trivet, let it dry
completely, and fire it until the enamel is
fully fused. Let it cool completely.
Use a pair of tweezers to place the
cloisonné spirals into the silver base [21].
If the wires shift too much, dip each spiral
into a little Klyr-Fire before setting it into
the base.
When all the wires are in place, sift a
small amount of clear enamel over the
whole piece. Let it dry completely, and fire
it until the enamel is fully fused. Let the
piece cool, and use a pick to make sure all
the spirals are attached [22].
NOTE: When you look into the kiln, it can
be difficult to tell when the wires have
been successfully attached. I keep my eye
on the metal trivet that’s holding the silver;
when it starts to glow a tender shade of
orange, it’s ready to come out of the kiln.
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Add the colored enamel.  Add a few
drops of distilled water to the colored
enamels, and use a #00 sable brush to
place grains of enamel between the
cloisonné wires [23]. Apply the enamel
slowly and evenly; it’s better to add
multiple thin layers than one thick layer.
NOTE: You can blend colors by placing
two different colors next to each other and
use a brush to blend them with distilled
water. It’s almost like using a very gritty
watercolor. Some colors, like blues and
greens, are easier to work with because
the dry enamel powder is similar in color
to the fired enamels. Reds and pinks can
be more difficult, because they tend to
be much lighter — even white — in their
powdered state, and it is hard to tell when
they are properly blended. If in doubt,
apply very thin, overlapping layers of each
color to create a blended effect.
Place the piece on a trivet, and let it dry
completely. Fire it in the kiln until the
enamel is fully fused. Let the piece cool
completely before handling it.
NOTE: Colored enamels have various
melting temperatures, so there’s no
definite temperature and time to fire each
layer. Stand by your kiln, and peek in
occasionally to monitor the progress (make
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sure you’re wearing tinted safety glasses!).
First, the enamels will appear very gritty,
but as they start to melt, they develop a
texture akin to an orange peel. Very soon
afterward, the enamels will become
smooth and liquid . It’s always better to
underfire during the colored enamel stage
than to overfire. If the silver is glowing red
hot, or the trivets are bright red, pull them
out of the kiln immediately.
Repeat to apply more thin coats of
colors until you are pleased with the
intensity of the colors. A good range is
two to four thin layers of color.
Add multiple thin layers of clear enamel
[24], firing in between layers, until the
enamel reaches the top of the silver [25].
Repeat to enamel the second earring.
NOTE: You may be tempted to add heavier
coats of clear, but don’t! Clear enamel can
become milky or cloudy if applied thickly.
Finishing
Grind the fired enamel.  There are two
ways to remove the excess glass and the
cloisonné wires extending above the
surface of the piece: You can use a motor-
ized bench lathe, or you can grind the
surface by hand. Each option has benefits
and drawbacks. The grinder is fast, but
you have to be careful not to over grind
and ruin the piece. Hand grinding and

26
polishing are more labor intensive, but you
have more control over the process; it can
be a better choice for smaller and more
delicate pieces.
TIP: It’s handy to attach small
enameled objects to a wooden
shim (I used a wood paint stirrer)
to make handling them easier.
Dopping wax works great; it holds
very well, is water resistant, and is
easy to remove after grinding.
SAFETY NOTE: Whichever method
you choose, always grind your enamels
wet and wear a particulate respirator. Dry
grinding will release silica dust into the
air, which may contain lead if you used
leaded enamel, neither of which you want
to inhale. Fill a small bowl with water, and
dip your enameled piece into it regularly
as you grind the piece to keep it wet.
27
Bench lathe:  Use a 220-grit belt on a
rubber wheel to grind the surface of your
enameled piece. Hold the piece securely,
and move it back and forth on the lower
half of the wheel. Keep in mind the slight
dome of your piece. Go slow, use a lot of
water, and be mindful of over-grinding.
Grinding by hand:  Use smooth, even
strokes, and be careful to follow the
contour of your domed piece [26].
NOTE: I prefer Flexible Diamond strips,
because they can be attached to a wooden
or plastic stick for easy use, and they do a
great job of removing the first layer of
enamel and extra wire. I then switch to
3M polishing papers.
Grind until all the extra glass has been
removed from the front of the piece and it
is smooth and flush.
NOTE: If you notice areas that are not filled
with enamel, clean the piece thoroughly,
add more clear enamel, and fire it again.
Process photos by Sandra McEwen.
28
Repeat the grinding process on
the second earring.
Polish the enamel.  Begin with 400-
or 600-grit wet sandpaper, and move
through progressively finer grits until
you reach 4000 or 6000 grit.
Mix cerium oxide with a bit of water,
apply it to a muslin buff on a bench lathe
or flex shaft, and buff the enamel to bring
out the brilliance of the enamel colors [27].
Remove the enameled piece from the
dopping wax.  Be careful when prying the
piece off the dopping wax [28]. If it seems
really stuck, place it in the freezer for a
minute or two, and it will fall right off. Use
acetone to remove wax residue.
Attach ear wires.  Make your own ear
wires with sterling silver wire, or attach
ready-made ear wires through
the hole in the top of the piece. 

ASK THE ARTIST: SANDRA McEWEN

If you had to switch media
tomorrow, which would you
choose, and why?
I can’t think of anything I’d rather do! Why
Counterenamel the
back of your earrings would I have to switch media? Did my arms
with a color that get chopped off? Was there suddenly a
complements the world-wide shortage of enameling sup-
front of your design. plies? Do I get to be really good at the new
medium and/or travel back in time so I can
study that in school instead? Seriously,
the possibilities are overwhelming. But,
I suppose if I had to switch media, I’d go
simple and focus on drawing. Traveling the world, passport in one hand, sketch-
book in the other — that would be the ultimate life for me!
Contact: www.sandramcewen.com