The term Cloisonné is derived from the French cloisons, meaning "partitioned cells". Champlevé refers to a technique where a recess is made in the silver either by incising, etching or making a framework that is soldered onto a fine silver plate.

Thin metal wires of either fine silver or gold are first laid down to separate the enamels from one another. Wet enamels (made of finely ground glass and lead) are "painted" on to the plate of fine silver using the cloisons as dividers.

After the first layer of colour is applied the piece is ready to be kiln fired at somewhere between 760 - 850 degrees Celsius. I always counter-enamel after the first firing, which is essential to ensure the bond between enamel and metal stays strong and prevents future cracking. The enamels continue to be built up and fired repeatedly until the colours become vibrant and there is a feeling of depth to the piece (each piece may be fired over twenty times).

The piece then needs to be 'taken back'. Using a series of diamond files, the piece is gently filed (from coarse to very fine) to remove any excess enamel and to reveal the cloisons. Then a series of diamond papers, up to 12,000 grit, is used. The piece is then cleaned with a glass brush, allowed to dry and placed near the kiln to warm up for its final firing.

Keum Boo (also spelled kum-bu) is a Korean process whereby 24ct gold foil is permanently bonded to silver, giving the appearance of the two metals being one.

Firstly, the object is made in sterling silver, and is then depletion plated (by repeated heating, quenching in water, pickling and scratch brushing) to bring up a layer of fine silver to the surface.

This is done 4-5 times. Very thin 24ct gold foil is placed on the depleted silver while gently applying heat with an open flame. The piece is then placed on a steel block and, using a polished steel burnisher, the gold is pressed down over the surface - fixing it permanently in place. The gold will not bond unless the surface is fine silver and the correct temperature has been reached.

Any soldering or heating that is done will not affect the keum-boo, and the finish is permanent. After completing the process the piece may be textured by putting it through a rolling mill or using a scratchbrush.

Married metal is a term used to describe the process of soldering different metals together using high temperature solder. I usually use a combination of silver, gilding metal, nickel silver and copper, although other metals can be used.

After soldering the pieces together, they can be cut and re-soldered thereby altering the pattern that had been initially formed. This can be done again and again, making the pattern quite intricate. When happy with the pattern, the piece must be filed back to clean away all the excess solder (and there is a lot of this!) to reveal the subtle pattern beneath.

The finished piece can be coloured by introducing an open flame which will intensify the colour of the metals, or it can be left to oxidise naturally. Sometimes I use a sealant to keep the colour permanent. I usually set the piece as I would a stone because to solder it again I run the risk of the joins opening and the piece buckling.

Forging is basically hammering metal to change its shape. The metal must first be annealed to soften it. Forged metal has a beautiful flowing feel to it.

Metal can be stretched, curved, flattened, folded and domed. Forging is the basis of silversmithing. From bowls and cutlery to rings and collars, knowledge of forging techniques is essential.

This is similar to the 'married metal' method. A design is saw-pierced from one metal and inlayed into an exactly matching opening in a different metal.

They are soldered together with high temperature solder (I use IT solder). As with married metal, the piece must be filed back until dead flat and all solder removed.

It can be coloured with an open flame or left to oxidise naturally. It can also be sealed to preserve the colour.

When a three dimensional object requires a consistent shape, I hand make my own die and then form the piece with a hand press. I always test the accuracy of the die with copper plate before I commit myself using gold or silver.

 

This last firing is to give the glassy finish enamels are known for. The final depth of the finished enamel is only .7mm (excluding the depth of the silver). Unlike with pottery, each piece is always fired on its own.

Enamelling is a labour intensive art and not without risk, as silver has a relatively low melting point. The enamellist must be vigilant in order to ensure that the work is not lost during the firing process.

 

 

This type of forging (called anticlastic raising) persuades the metal into opposing itself. Concave curves and tight tapering enclosed curves are made possible with this technique. Bangles, rings and neckpieces as well as hollow 'tubular' handles are born of this method.

This is a process of bringing fine silver to the surface of sterling silver by heating the silver to an annealing temperature and quenching it in acid (pickle). This process is repeated 5-6 times, giving a highly textured appearance to the silver.

The layer of fine silver is then heated to just past the annealing temperature and the flame is concentrated on one area until the surface of fine silver begins to "ripple". It is vital that the whole of the piece is not allowed to cool and it is sometimes necessary to use two torches to keep the piece at temperature.

As the "rippling' progresses the torch is moved along the piece in a controlled manner until the desired effect is achieved. This is a permanent finish and lends itself to interesting colourations through oxidation.

Embossing refers to patterns and designs imprinted onto metal by using extreme pressure, usually with the aid of a rolling mill.

Materials such as cloth, plastic, paper or even leaves and feathers can leave impressions on metal. Hard metals like steel and nickel silver may also be used but care must be taken not to damage the rollers on the mill.

Firstly, the metal, usually gold or silver, is prepared by annealing to 'soften' it so the texture will be accepted. The metal to be textured is usually sandwiched between two pieces of brass (to protect the rollers) along with the material being used to produce the texture.

When put through the rolling mill at the correct pressure, the texture will be picked up by the softened metal. After going through the mill the metal will become quite hard again and will have to be re-annealed if more texture is desired.

The etching technique uses acid to corrode metal. A 'resist' (I use asphaltum) is applied to mask the areas that are not to be etched. For etching into sterling silver, nitric acid is used.

The strength of the solution will determine how crisp the 'bite' into the metal is. This is a technique I don't use very often anymore because the fumes are so noxious.

Engraving is the process of cutting lines into metal by using sharp tools called gravers. Patterns can be added in this way. I often engrave under my enamelling to give added depth and texture to the piece.

The hammer is one of the most versatile tools when it comes to adding texture.

Patterns can be varied by the shape of the hammer, the force with which the object is struck, and whether the object is being struck on steel, lead, wood or pitch. The striking edge of the hammer can also be altered by filing into it, creating a new texture.

Granulation is the fusing, not soldering, of very small balls of high carat gold or fine silver to a metal surface.

This technique adds a different dimension to texturing because it is a definite spherical shape that is raised from the surface of the metal. If desired, the piece can then be rolled through a mill to slightly flatten it.

 

Soldering is the permanent joining of two or more pieces of metal by using solder and heat. Solder is an alloy that is compatible with the metal being worked with, but has a lower melting point.

When soldering is impossible, as in the case of titanium, wood, plastic or glass, small holes are drilled into the pieces to be joined and short wires of silver or gold are hammered through these holes to keep the piece together. Sometimes riveting can be used to create movement in a piece.

Sometimes, due to the nature of the piece, gluing is required. Pearls and opals may be attached this way at times because they are soft and often cannot withstand the pressure needed for setting.

This finish is added to the piece at the final stage of fabrication.

After a mirror finish is obtained, the piece is gone over with a fine wire attachment on the polisher, thus giving a satin finish. The end result is a more matte appearance, but still with some sheen.

A mirror finish is the most common type of finish for jewelry pieces. This is a highly polished, reflective surface.