The Practice of Painting in Enamel: A treatise on enamel painting, richly illustrated as a book of instruction for the use of onglaze paints by Gillie Hoyte Byrom

Author:Gillie Hoyte Byrom [Byrom, Gillie Hoyte]
Language: eng
Format: azw3
Published: 2017-06-26T04:00:00+00:00

DRYING THE PAINTING

Dust should be avoided at all costs as dust particles tend to lie hidden in the paint. A tiny fibre will absorb wet paint but burn out in firing leaving a highly dense speck of colour. Either leave the enamel well-covered to protect it from damage while it dries naturally or hasten the process by applying heat gently to speed evaporation of the medium. If evaporation is rushed the medium tends to bubble up and boil, spitting off or cracking the paint.

The most effective method of driving off the medium is to place the piece on the planche it will be fired on and introduce it into a hot kiln for short intervals. The first time should be for a couple of seconds. Take the piece out quickly and hold it at the mouth of the kiln for four seconds and repeat for longer next time. By repeating this action three or four times the piece heats up slowly and produces steam (from water-based medium) or smoke (from oil medium) with its characteristic and intense smell, indicating that the oil is burning. Ensure good ventilation. (See Health and Safety)

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