Kathleen Kay
Don't be put off by the title - if the subject were to be studied in great detail, using all the resources of modern science, we could be side-tracked into a fascinating world of experiment, discovery and understanding but left with no time for anything else. However, these short articles merely select from colour theory in order to help us use our enamel colours more effectively.
Excluding the techniques of plique-a-jour, I am going to treat our enamel works as purely reflective surfaces reacting to a light source to display their colours. Enamels, whether jewellery, bowls, plaques or panels, are rarely going to be seen in daylight only, so, when choosing our combinations of colours, we should consider the effects that various other light sources will have on them. For instance, a vital, prominent feature of red on a yellow ground could appear insignificant in certain lighting conditions. The accompanying chart indicates how amazingly different some colours will appear - I will always remember one evening experiencing a mild sense of panic whilst searching for our new light red car, parked several hours earlier in daylight. Fortunately, I found a yellowish one with the same number plate, and, as the key fitted, I thankfully took that one.
Joan Bolton King
Planning a Picture
There are various technical points to be considered when choosing a suitable subject and composition of a repousse piece.
Pieces of thin copper shim will tend to warp or lose shape during enamelling unless they are quite small or specifically moulded to minimise stresses building up. However, an enamelled bit can still be flattened or reshaped by pressing with a pallet knife or tool while the enamel is still molten. Notwithstanding this, it is better to limit the size of each piece in the design and to incorporated undulations which add strength thereby preventing deformation in the first place.