Properties of Opalescent Enamels. Okay, get ready for this. Most modern day opalescent enamels are not truly opalescent but rather semi transparent. A true opalescent is a mixture of two immiscible enamels. (Immiscible Definition
Immiscibility is the property where two substances are not capable of combining to form a homogeneous mixture. The components are said to be “immiscible.” In contrast, fluids that do mix together are called “miscible.”
Components of an immiscible mixture will separate from each other. The less dense fluid will rise to the top; the more dense component will sink. This can also be true of solids but in the case of enamels, it is referring to the molten state.)
The old leaded Thompson were true opalescent enamels. In the case of their 835 Opal White, the glass was immiscible unless fired too hot. If you fire them too hot they become miscible and the resulting glass becomes an opaque. According to the late (great) Woody Carpenter, these enamels also contained arsenic. The “too hot” varied from one batch to another. I have a rather large container of 835 that goes opaque at about 1325 degrees and so as long as you fire under that temperature, your results will be a glorious true opalescent enamel. It should be noted that most medium fusing enamels are meant to be fired hotter than this. It is possible to get them to a glossy stage at 1325 but it will take 3 minutes or more for a small jewelry piece. In actuality, it doesn’t matter how many times you fire a piece as long as it never gets hot enough to change the chemical makeup and cause it to go opaque. Because they are so delicately fussy about temperature, you may find that firing on a layer near the end is safer for you but it really is about the temperature.
The Japanese opals are all semi transparent and not sensitive to overheating. The colors are quite lovely and troublefree but not actually opalescent enamels. Have a look at a Faberge Egg in person some time for an example of Opalescent Enamel. They are delicious.
Opalescent Enamels by Merry-Lee Rae
The Lion and the Lamb
“Let us be dissatisfied until that day when the lion and the lamb shall lie down together and none shall be afraid.” -Martin Luther King, Jr .
The theme for American Jewelry Design Council 2018 is “Together”.
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Thank you, Patsy. I think you are completely right and the yellow discloration is happening at the edges, where base enamel layer is thin. Will put more layers of base enamel before applying white.
I guess I need to swich to leaded enamels as all masters mostly using them. I bought a big box of samples of Thompson unleaded colors couple of years ago as it this moment I didn’t really know the difference. But exploring them I relalized, that transparents and opals have only a few colors to select from. If you need variety of colors – have to go to manufactures of leaded enamels.
One more question – Tuff Brake for enamel setting. I have diffuclties to find a supplier. All the sources I found so far – do not sell it any longer. Any suggestions or alternative materials to use?
Nina,
You can start a collection of leaded enamels. Ninomiyas, now from E-namels, Schauer is there also. You can buy Soyer from Bovano, and Hirosawa from Enamel Art Supply. I like best the flux from Soyer. All links are on my resources page.I have white opals from all these co. You just have to test and see which ones you like for different jobs.
I sell the tuff break. It is 4 x 12 inches. Available on my supplies resources page.
Hi, Patsy
I bought a few leaded opalescent enamels from different manufacturers and experimenting with them. The color choice is very limited, can you mix them with transparents to get the proper shade? Also – do you need a solid background, like white opaque under them?
Thank you, Nina
Nina, I have mixed some, just test it to see what the effects are before putting it on your jewel. I have also used one that has more pigment then used one with less pigment over the first one, so it stays more translucent. I do not put an opaque as then it is just opaque and you do not get the shine from the fine silver.
Patsy
Hi, Patsy
I have a question re, semi-transparent white enamel (using med 80 Thompson). I am trying to get effect of a snow, so it’s important that the color stays white, I am using pure silver as a base, added couple if layers of Thompson clear base for silver, then white semi-transparent (I think it is 200), still have some yellow shades, not white especially around border. Kind of white in the middle, yellow around. Not looking good, any suggestions what I can use for snow effect? Or tricks how to keep it white? I would like in to be not completely opaque, but semi-transparent or even better semi-transparent opalescent. Would appreciate any ideas.
Hi Nina,
First I do not use Thompson’s enamels, so my knowledge is low on their opals. I have many different white opals all leaded. I do know any yellowing is burning, no mater who’s product it is. The edges burn before the enter as it is common you do not have enough flux on the fine silver edges. Many white opals turn yellow, they can be very touchy about heat, Some you can not fire above 1300 degrees.
So if you are using a hard flux from Thompson, get a good layer of it on your sheet and try cutting back on the firing. See if you can get the enamel to fuse properly. If this works then you can use the same enamel and sprinkle some on the jewel and fire it only to the point it sticks, I would think it might look like snow. You can see in some of my ocean waves I have applied the enamel this way. it is the very last firing.
Let me know if you have success. Soyer from Bovano has an semi opal #101 that fires like snow also, if you don’t over fire it. But this is a leaded. Patsy