To all the students of the world

A heartfelt thank you to all the

enamellers who joined this project.
Some texts had to be slightly adjusted
to fit the layout.

Please get in touch if there is any

modification you want to suggest.

Finished editing on 2020-03-14

 "TODAY IS NOT A GOOD DAY TO GIVE UP,
TOMORROW NEITHER."

I thought about giving up.

I said several times that I hate this job, but every time something pushed me to
continue, not to give up and this, in the end, paid off.
Once the difficulties were overcome, the joy was immense.

Sometimes we don't know how to deal with bad days, I know it and for this
reason, I asked all the enamellers in the world for help. I asked them to find
some words of encouragement for all of you, some photos, some personal
advice, and anecdotes. They responded enthusiastically.
In this little book, you will find all of this, you will find the support of our
small and large family.
We all had bad days, but none of us gave up.

Rebecca Di Filippo
"EVEN AS YOU ARE FALLING DOWN,
FOCUS ENTIRELY ON GETTING UP AND THE
FALLING DOWN WON'T MATTER ."

LISA FALZON
6
Liza Falzon, Malta

Up till 2017, my background had Of all the media I was ever involved
been fi een years working in in - and I worked in a lot of fields
illustration, creation of artworks for from welding to digital art to 3d
children's books publishing and my modelling on a computer to dancing
own brand of prints 'Meluseena'. to competitive skating - cloisonné
A er so much time, I got a little enamel was the absolute hardest. So
bored of visual art. It was in this for this I have great respect and love
fateful year that I would come across for anyone trying to do this medium.
the awesome Aterlier Kirkara in It takes a while for you to develop a
Berlin where I would start learning relationship with - your kiln, your
the cra of silversmithing, a path that base, your style, your enamels - many
a year later would have me launch my variable means it will take a lot of
brand 'Bring Me My BattleAxe', and a experimentation and many failures.
year a er that through immersion in When you fail you must just start
the field, become enchanted with over, from scratch, without ability to
vitreous enamel through the work of recover days of work - my experience
the masterful Kristin Holeman (find is that even as you are falling down,
her work on IG!) - it was the first time focus entirely on getting up and the
I saw non traditional, non historic, falling down won't matter (I learned
bold subjects being expressed in this from sports). It takes a certain
cloisonné and it was a moment of type of person, and if you were
total inspiration of how I could bring brought to enamelling by destiny, you
my own motifs to the medium. are most likely that person.
I live in Malta with no access to Best of luck and just don't give up,
teachers, so I decided I would teach eventually you will begin to be
myself and got a kiln and proceeded pleased with your work. Just get ready
to produce things that looked like for the possibility that perfection may
burnt toast for six months. always be a myth on the horizon.

7
 "WHATEVER YOU DREAM UP, YOU CAN MAKE IN CLOISONNÉ."
Merry-Lee Rae
8
Merry-Lee Rae, USA

My advice for making Cloisonné:

design with total disregard for the
media and your current capabilities.
Whatever you dream up, you can
make in Cloisonné, you can challenge
yourself to figure out how.

9
 "RESULTS OFTEN BEGIN WITH ASKING THE QUESTION 'WHAT IF'."
BARBARA MINOR

10
Barbara Minor, USA

I was raised in Chicago, Illinois. I Results o en begin with asking the

studied the art form of jewelry and question “what if”. My research
metalsmithing as an undergraduate oriented studio practice leads both to
student. The addiction and love for the perfection of traditional methods
enameling in combination with and to unexpected experimental
metalworking and jewelry making results. When the processes are
began during graduate school, with reliably repeatable they become
continued exploration during the useable in my finished jewelry.
following ten years of university My visual influences derive from
teaching. I le the university with a historical, architectural or botanical
desire to spend my professional life as references and are impacted by
a full-time studio artist. images from current favorite places.
I spent the next twenty years Surface, form, functionality, technical
creating and marketing my enameled excellence, beauty and visually
jewelry in galleries and by stimulating results are carefully
participating in prestigious juried considered while researching an idea,
cra shows such as the American developing appropriate technical
Cra Council Cra Shows and the applications and finally designing and
Philadelphia Museum Cra Show. My making jewelry or objects.
work can be seen in publications such Now I focus my studio practice on
as The Art of Enameling, 500 Enamel researching and innovating enamel
Objects, 500 Brooches and The processes, preparation for teaching
Penland Book of Metalworking. workshops at cra schools and
Driving the development and colleges.
execution of my enameled jewelry is I believe that visual, conceptual and
a love for color, working with metal technical investigations along with
and explorative research of formal, experimentation provides increased
technical and material concerns expertise, continual discovery and
relative to enameling. heightened aesthetic development.

11
 "MY VISUAL INFLUENCES DERIVE FROM HISTORICAL,
ARCHITECTURAL OR BOTANICAL REFERENCES."
BARBARA MINOR

12
"AS AN ARTIST YOU SHOULD NEVER STOP LEARNING CAUSE IN OUR
FIELD EVEN THE SKY IS NO LIMIT AND TAKE FAILURE AS A LESSON."
PANKAJ SONI

13
 "The best sort of competition
in my opinion, is when you compete
against yourself rather than others."
GILLIE HOYTE BYROM

14
Gillie Hoyte Byrom, UK

A er forty years of enamel painting, 1990). Since then I have made over
it is one of the greatest pleasure to take 500 commissions.
a hot enamel from the kiln and watch The other image is the miniature I
the magical colour-change as it cools. made of King Henry VIII that won the
I also love teaching students of prestigious Cartier Award fi een years
enamel painting who visit my studio later (photo in the next page, 85mm x
from all over the world for 1:1 tuition. 140mm, hand painted vitreous enamel
I discovered enamel painting before on 18ct gold, 2007).
I was 25 years old and knew I’d found The best sort of competition in my
my passion. There was no one to opinion, is when you compete against
teach me so it took many years and yourself rather than others. You set a
tears to learn the basics. When I ceiling height that is just within your
received training in Barcelona, it gave reach if you stand on your toes and
me Method so I could repeat stretch. It is tremendously satisfying
something successful. Then you take when you reach and touch the ceiling!
what you have learned on a personal As you master techniques, the same
journey. Many wonderful people ceiling becomes comfortably within
influenced me along the way, like reach and you stretch once again to
golden sign posts. If you aim to make push at the boundaries and acquire
the very best work you will find more difficult skills.
excellent patrons to keep your practice Today, Enamel Painting is a rare
going. My first portrait miniature medium but when you study historical
commission was for an old school works you are connected with the
friend (she wanted an enamel of her truly inspiring techniques of the old
husband Lawrence and she was masters. In 2015, I was inspired to
tolerant of my mistakes). Here is the write a book, which fully describes the
piece to show a starting point (photo techniques of enamel painting. It’s the
on the le , 55mm x 75mm, hand book I could have benefited from
painted vitreous enamel on copper, when I was learning.

15
 "WHEN YOU STUDY HISTORICAL
WORKS YOU ARE CONNECTED
WITH THE TRULY INSPIRING
TECHNIQUES OF THE OLD
MASTERS."
GILLIE HOYTE BYROM

16
 "WHAT'S THE POINT OF GIVING UP?
IF YOU THINK YOU HAVE TO GIVE UP
IT'S BECAUSE YOU HAVEN'T TRIED HARD YET."

REBECCA DI FILIPPO

17
 "FINDING THE BALANCE BETWEEN PERFECTION
AND 'GOOD ENOUGH' IS THE KEY."
MER ALMAGRO

18
Mer Almagro, Belgium

I've been enameling since the mid- key. It is good to continue to pursue
nineties. My hometown is Barcelona, perfection, to an extent: the longer
where I learned vitreous enamel from you persist, the more you have to be
Andreu Vilasís and Núria López- mindful of diminishing returns. Time
Ribalta. I now live in Belgium. to move on to the next piece, where
Primarily I go back to nature for you have more potential to improve.
my inspiration. My personal advice, We have to learn smart and continue
which applies to any pursuit, would to do so, always.
be to cultivate a critical, skeptical Second, color and test palettes are
spirit and a scientific worldview, while your most useful tools. Use them well
at the same time having in mind that and extensively!
tradition can serve as the best way to Godspeed!
find established and true ways of
doing things: a way to learn from
other people's mistakes. In spite of
that, there are no shortcuts to putting
in the time. If you want to excel at
anything, you need to practice and
have perseverance, so you better
choose something you really love!
The reward is not only the
satisfaction of a well done job, but
also the ability to step into a state of
meditative flow while you work,
which is healing and enlightening.
Two more things I'd like to add.
First, perfection does not exist, so
finding the balance between
perfection and "good enough" is the

19
 "I LEARNED CLOISONNÉ ENAMEL AND THIS ART BECAME MY LOVE,
MY INSPIRATION."
NATIA EDISHERASHVILI

20
Natia Edisherashvili, Georgia

I started to work on cloisonné

enamel in 2008.
My father was a jeweler. When he
died, I was a small girl, so I could not
learn from him. When I grew up, I
started to study jewelry techniques
and a er that, I learned cloisonné
enamel. And this art became my love,
my inspiration.
My advice for a young beginner is to
try your experiments and try to work
without the help of experienced ones.
Because you can find out a lot of ways
to work more fluently. It is my
experience. I live in Georgia and we
have the ancient traditions of the art.
So go on and make your steps in
the world of cloisonné enamel art.

21
 "THE ROAD WILL BE OVERCOME BY A WALKER."

EVGENY BARANOV

22
Evgeny Baranov, Russia

I am an artist from Moscow, Russia. who were the great masters of the
I have been painting miniatures on past. I started collecting literature
enamel for forty years. about enamel art. I started visiting the
I loved painting since childhood. museum collections of Russia.
My family did not share my interest In the museums of Moscow and St.
in drawing, my parents insisted on Petersburg there are absolutely great
biology or accounting - these are enamel paintings of magnificent
traditional professions in our large Russian miniature painters of the 18th
family. My poor eyesight (eyesight and 19th centuries. Russian enamel
was only on the le eye, I had myopia painting of that time looks magical,
with -7 diopters on the other) did not but it is irreproducible because the
allow me to enter admission exams at technologies are lost. When I asked
art college. I myself changed my my teachers about the technology of
medical certificate and passed the creating those masterpieces, they
admission exams. always answered that the secrets of
In 1981, I went in Fedoskino School the technology are forgotten forever.
of Miniature Painting, where I A few years later, I became familiar
studied at the Faculty of "enamel with samples of the work of Swiss
miniature (fini )," where I got the watchmakers of the 17th century.
basic skills of enamel miniatures and Those enamel paintings on hulls and
improved my painting skills. dials of old clocks literally le me
That time enamel painting was sleepless. There were incredible
mainly a kind of folk art. It was much quality and amazing colors of enamel.
simpler than now: for example, we For me, it was especially wonderful
used only white enamel, and we how Swiss masters of the 17th century
painted only simple images, such as used colored and transparent enamel.
flowers. I was painting every day. The first miniature painting on
During little coffee-breaks, I started enamel appeared in central France in
learning the history of enamel and the early 17th century. Later, Geneva,

23
Switzerland became the world center son Jean-Louis Petitot, engaged in the
of enameling. Enamel miniature - is same art, pushed Emperor Peter I to
the most effective way to create bring an enamel miniature in Russia.
complex and vivid images on a small When I became acquainted with the
area of the metal. That was the reason history of enamel painting - I wanted
why enamel miniature has quickly to try something similar, but the
become the primary decoration in books did not have any information
pocket watches. Miniature painting about the technologies used by
on enamel is the noblest and enamel painters of the past. I had to
artistically expressive and challenging develop myself a new technique of
of all enamel techniques. miniature enamel painting -
There were about eighty real absolutely different from anything I
famous artists and miniaturists - most have seen before. In 1993 I started to
of them worked in Geneva. Among work in cooperation with the best
them, there are celebrities: Francois Moscow jewelry company called
Tengu and Petitot, Lyotard and Turko Sirin. Sirin was accustomed to jewelry
de Maine. One of the well-known enamels and had a good industrial
masters of the 19th century is Jean- base, unique materials, and skilled
Louis Richter. During his life, Jean- professional enamelists. Even today,
Louis Richter created a great number the company performs works of
of enamel miniature paintings for jewelry keeping the tradition of Carl
Swiss watch companies. Fabergé alive. There I’ve had a good
The most lasting impression was school of classic enameling.
made on me by the famous painter of Over the last decades, I was able to
miniature portraits on enamel Jean restore some of the techniques of the
Petitot, the great master of 17th- old masters of enamel miniature
century Geneva. For my taste, his painting and I managed to use them
enamel miniatures so far - are the again.
most extraordinary. The works of his I am very glad that during recent

24
years an enamel miniature painting is growth in this complex cra .
reborn in Switzerland. Such watch Through hardship to the stars! The
brands as Jaeger-LeCoutre, Bovet, road will be overcome by a walker. I
Vacheron Constantin, set themselves wish you success!
the task to go back to roots in a short
time. And it seems like they are
successful in this task: they find and
train new artists.
It is very interesting for me to get
acquainted with modern masters of
enamel miniature painting. I like to
watch the best historical examples of
enamel miniatures of the 17-19th
centuries in different museums. I
want to show my level of enamel
miniature in the homeland of enamel
miniatures in Switzerland. I plan to
write miniature portraits of the
largest and most famous artists of the
past as a sign of my respect.
Now it is a very interesting time. I
wish my young colleagues to be
hardworking and persistent, and
success in enamel painting is sure to
follow! I wish you that. You can always
count on my consultation, and for
those who have achievements in
miniature painting, I can provide my
master class for further professional

25
 "THE ARTIST MUST SEEK THE CHALLENGE WITH HIMSELF."
DARIO SCAGLIOTTI
26
Dario Scagliotti, Italy

Those who dare to practice any art

need great passion, dedication, patience,
knowing more than what one can do,
not stopping in front of failures and
successes.
The artist must seek the challenge
with himself, this will make us grow
artistically and spiritually.

27
 "AFTER A LONG TIME OF LEARNING AND PRACTICING,
I AM VERY HAPPY WITH THE RESULTS."
MARIO ALEXIS

28
Mario Alexis, Mexico

I am a jewelry designer, I started I learned hot enamel and then I

thinking about how to share with you started to develop different
the enamel art, which is an ancient techniques. I had a need to know how
technique of fine arts. Each person to manipulate, cut, drill and weld
has created its own style to develop materials, to be able to make pieces
enamel art; every place in the world with hot enamel techniques.
has developed different styles with You have to be patient to learn the
this technique and different materials enamel art and sometimes it is not
to make them. Yet we must consider easy to accept the results.
that it depends on where and with It is very important for me to know
whom you learn this technique, if you and practice, and also to manipulate
will have a personal result. I was lucky materials to see how they behave in
enough to work with one of the best the fire; as well as cleaning them for
enamelers in the world, Teresa excellent results. No less important is
Mingot. She studied in a very to test and draw in a simple way.
prestigious art school in Barcelona, I'm telling you this because, a er a
has over fi y years of experience, and long time of learning and practicing, I
she is a very good person. am very happy with the results. You
As a child, I began to draw and will work with different enameling
create, and since then I have learned techniques, which you will surely
different techniques: oil, watercolor, know better in the future (like
and sculpture. My university Cloissoiné, Limoges, Champlevé,
education is in architecture, where I Plique à jour, etc.), for this I greet to
learned to draw well and then I all of you with my best wishes in your
followed the vitreous technique, artistic career.
fusing glass with painting in the oven.

29
 "MY ADVICE FOR
STUDENTS IS TO HAVE
FUN AND EXPLORE."
JILL TOWER

30
Jill Tower, USA

I love to explore all the enameling

techniques, not just cloisonné.
My advice for students is to have
fun and explore, and also to put time
and effort into their metalsmithing
skills, too.
If I did not have the metalsmithing
skills, I could not make my artistic
visions into reality.

31
 "I THINK PEOPLE SHOULD LEARN THE CORE CHEMISTRY OF ENAMELS."

TOVA SHPANTZER

32
Tova Shpantzer, USA

I was a metalsmith for many years

before I started to take enamel classes.
Enamel enriched my life with color
and happiness.
Of course, I am not young and it is
hard to start from the beginning testing
every step of the way.
I think people should learn the core
chemistry of enamels so they
understand what happens in the kiln
with enamel with different hardness.
How warm colors work and how they
behave and interact with different
metals. They should learn very well
the difference between transparent,
opaque and opalescent enamels.
I think that’s kind of basic. If you
understand those topics, the rest will
come with practice.

33
 "I'm happy having spent a life devoted to
art and culture."
Paul Buforn

34
Paul Buforn, France

I've been a professional enameller

in Limoges since 1972. Currently, I'm
retired in Nexon, my city in south of
Limoges, but I keep working with
enamel in my house-atelier, that can
be visited on appointment.
All the enamel works I made in my
career were hand-made combining
different techniques, so they are all
unique pieces. I'm a cra sman and an
enameller and I'm happy having spent
a life devoted to art and culture.
The best advice I can give to young
enamellers is to make many enamel
samples on different metals to find
out what fits better for them.

35
 "ENAMELING IT’S A LONG JOURNEY FOR YOUR WHOLE LIFE."
WU CHING CHIH

36
Wu Ching Chih, Taiwan

I’m an enameler from Taiwan. When

I was a beginner in enameling, I
immediately felt this was a very
different material. When you start
learning, of course you have to
acquire the skill in metalsmith,
temperature, and knowledge about
the variety of colors of enamel.
But when you learn more, you will
control the enameling technique
much better and you will get more
confident in the materials. Then, you
would love to try something new and
find your own personal styles.
I still do many enamel experiments
myself and try doing something new,
enameling it’s a long journey for your
whole life.

37
 "ENAMEL CAN ALWAYS SURPRISE WITH ITS VERSATILITY."
TERESA ULLDEMOLINS AGUADÉ

38
Teresa Ulldemolins Aguadé, Spain

I was born in Valls, a small town and sometimes misunderstood and

near Tarragona and close to the sea. I undervalued.
think the place where you are born I have found in the stones a whole
marks you in one way or another, world of expression. The stones are
either in the theme or with its colors. strength, stability, immutability and
From a very young age, I was inclined when I apply the enamel on them it is
to the arts, specifically for painting. I as if I endow them with soul.
studied for five years at the School of I also love the contrast between
Art and Design of Tarragona and surfaces and materials. The
that's where I discover the wonderful roughness of the stones together with
world of enamel, a magical art of the delicacy of the enamel seems very
which I fell in love. interesting to me.
I spent several years sharing my If I had to give some advice to the
passion with the family business until youngest, I would tell them not to
I was 35 years old and I decided to stop learning and experimenting,
devote myself completely to this art. because enamel can always surprise
This decision was one of the best in with its versatility. I'd also tell them to
my life because I am very happy fight to give enamel its importance. If
when I'm creating. Throughout my society values enamel, many artists
career, I collected several awards that can live off it. And what greater
have excited me and spurred me to happiness than being able to dedicate
continue in a world sometimes closed your life to what you like the most!

39
 "IT IS A GOOD FEELING TO REALIZE THAT YOU ARE WORKING
WITH ONE OF THE MOST ANCIENT JEWELRY TECHNIQUES. "
SERGEJS BLINOVS

40
Sergejs Blinovs, Latvia

I was born in 2005, as soon as I will talk about the jewelry art of our
graduated from the Latvian Academy time. Sounds good, doesn't it? And
of Art. This was not a surprise since I this time will fly by at insane speed.
had been preparing for this for four The theory of enameling can be
years. explained in one minute, and then...
But it seemed to me not enough, Practiced all your life.
and I began to travel. Have you heard But it's worth it!
about food-tourism, health-tourism?
My travels were called enamel-
tourism.
Georgia, St. Petersburg, Hungary,
these were private masterclasses with
enamel masters. Different countries,
different techniques: Champlevé,
Cloisonné, Guilloché. Beautiful words
and many hours of work.
Today I calmed down a bit and just
make jewelry for people.
When they ask me to talk about
enameling, they ask "is it difficult"? I
answer that there is nothing easier.
Ancient civilizations coped well with
this, thousand of years ago, with very
simple tools. Are we worse?
It is a good feeling to realize that
you are working with one of the most
ancient jewelry techniques. Perhaps
many years later, it is on the example
of your works that theorists of history

41
 "DON’T BE AFRAID TO MAKE MISTAKES!"
SANDRA MCEWEN
42
Sandra McEwen, USA

I was born and raised in Cleveland,

Ohio. I graduated from Rhode Island
School of Design with a degree in
illustration. I currently reside in
Wilmington, North Carolina. Before
becoming involved in enameling, I
spent many years as a graphic
designer and stained-glass artist. I
have always loved incorporating
bright color and light into my work,
so when I discovered the beauty of
cloisonné enamel, I was hooked.
My work incorporates color, light,
and balance, be it abstract or
figurative. I'm influenced by all the
gorgeous jewelry of the past but try to
give it a modern twist.
Don’t be afraid to make mistakes!
Keep a notebook of what went right
and what went wrong a er each
project. What would you do
differently next time? If every piece
you make comes out exactly as you
expected, with no surprises, you are
not trying hard enough.

43
 "AT THIS AGE WE HAVE MUCH STRESS IN OUR TIME,
I BELIEVE ARTWORKS HAVE THE POWER TO SOOTHE OUR MINDS."

KYOKO IIO
44
Kyoko Iio, Japan

I was born in Ehime, Japan. A er

studied Applied Arts at the Tokyo
National University of Fine Arts and
Music I dedicated my life to cloisonné
enamel art.
O en I am asked how long the
enamel process takes: unfortunately I
cannot answer, because it depends on
my concentration. I have words and
forms that I keep in my heart for a
long time. I hope they will turn into
cloisonné objects.
At this age we have much stress in
our time, I believe artworks have the
power to soothe our minds.

45
 "EVEN THE MOST TALENTED
ARTISTS HAVE FAILURES."

TRISH WHITE

46
Trish White, USA

Let your “Failures be your Lessons”! It went into my “junk bucket” for
Who says it has to be perfect on the one year until I could look at it again,
first go-round? We all do, every time take a breath and make the decision
we walk into a new workshop. As not to give up. I remade that piece
students learning a new technique, and it went into an exhibition.
our expectations to walk out of the On another occasion, I learned how
room with a piece looking exactly like to make a deep-set bezel ring with a
the instructors’ is universal. Students Topaz stone: a few months later the
forget that their abilities are on a ring fell apart because the band was
learning curve of success and failure. not soldered securely to the bezel.
But is it a failure, or is it a lesson in Using a fine tip flame, I re-soldered
future successes? When things go the bezeled stone to the band.
wrong and they will keep in mind Something I never did before and
that this is an opportunity to ask amazed myself with success. The
yourself what you did wrong so it “failure” came when I dropped the
does not happen again. Even the most ring in a bowl of water. Something we
talented artists have failures. It’s the always do a er soldering metal. The
nature of the beast. I can ask any of my stone cracked and turned from a deep
colleagues if they have a “junk” box orange to a hazy green. Scream or not
and they can pull it out in an instant. to Scream? No! That failure became
I have spent days working on a my lesson: gemstones have to cool
project from creating the design, down before hitting the water. Next
etching, sawing, and enameling, only time you have a failure, give it a kiss,
to absently grab the wrong colour on and think about what you have just
the last step and ruin the entire piece. learned to make you better.

47
 "YOU CAN'T BE AFRAID
TO TRY AND EXPERIMENT."
ANNA BETLEY

48
Anna Betley, Poland

I create jewelery to express my

independence and share a unique
experience with people setting their
own trends. In my atelier you can find
both unique single pieces of jewelery
as well as limited-edition collections.
Colour and ornament are the themes
of my art which I express by the use
of noble jewelery enamel and silver,
both of which are my primary
materials-of-choice and means of
artistic expression.
I like to combine different materials
like silver with enamel and with wood
or precious stones. I like to
experiment with textures and enamel
colors to create a vibrant color effect.
Working with enamel requires
patience. A valuable feature is also
curiosity and reconciliation with a
possible failure that gives us
experience and teaches something
new. You can't be afraid to try and
experiment.
I think about my works as a
painter, o en breaking stereotypes
and technical tips.

49
 "MY MOTTO IS TO MOVE FORWARD SLOWLY AND NEVER STOP."
JUNKO ANNOURA

50
Junko Annoura, Japan

When I was taking a jewelry course, varying sizes of enamel particles and
I felt there was something missing. deliberately fire on a low kiln heat so
Then one day I met the allure and the glaze particles don’t completely
enjoyment of enameling, which gives melt, creating a unique lumpy and
a similar feel to drawing or painting. gritty texture on the surface of my
Since this moment I continued to work.
create my enamel work little by little.
Although I have many ideas for
designs, I o en struggle to complete
my creations as I want because of the
complex and numerous phases of the
technique of this cra . My motto is
to move forward slowly and never
stop, just keep on working on my
designs, taking my time.
I’m so fascinated by the moment
when the beautiful enamel colors
gradually emerge a er taking a piece
out of the kiln, watching the red hot
enamel cooling down. A er this, the
hardest part of the process is the
polishing and the time it takes before
you see the final work.
A er practicing metal hammering
techniques for three years, I’ve
recently started to apply enamel on
my original unique shaped hammered
metal bases.
I also create original colors in

51
 "MY FAVORITE TECHNIQUE
IS MINIATURE
ENAMEL PAINTING."
PÁL TÓTH

52
Pál Tóth, Hungary

I'm a designer and an enameller. I

learned graphic-art, I made book-
illustrations and I make enamel works
since 1981. I was an enamel art
instructor in the International
Enamelart Workshop, I taught
enamel in Slovakia and I was a
speaker in Cracow on the Academy of
Fine Art. I work with cloisonné,
champlevé on hand-engraved base,
but my favorite technique is
miniature enamel painting.
Now I'm a freelance artist, I make
enamel miniature for watches, for
jewels, for furniture, I'm working by
commissions and for galleries. I paint
the miniature a lot with brushes. I use
the best quality possible, the bristles
are thin and long, but we can cut
them by ourselves.
The essence of pointillism is to put
a small amount of enamel paint on
the brush tip and place it on the
surface point a er point.

53
 "PURSUE YOUR PASSION WITHOUT THE FEAR OF FAILURE.
EXPERIMENT AND EXPLORE NEW POSSIBILITIES.
LEARN, UNDERSTAND, IMPLEMENT, AND EVOLVE. "

RAJESH LATHIGARA

54
Rajesh Lathigara, USA

My interest in visual arts started at enamel miniature paintings, jewelry

a very early age while growing up in fabrication, gemstone carving,
India. I was born and raised in a polymer clay, precious metal clay,
goldsmith family with a rich history and mixed media jewelry from
of fine cra sman, making a range of nationally renowned artists as well as
jewelry products using traditional at various community art centers in
techniques, passed on through the USA.
family lineage. Although my Pursue your passion without the
immediate family was not involved in fear of failure. Experiment and
this cra , many members of my explore new possibilities. Learn,
extended family have been producing understand, implement and evolve.
jewelry for centuries. One of my
maternal uncles was a very well
known artist specialized in making
jewelry and adornments for temple
idols in India.
While growing up in India, I spent
many summer vacations watching
him and other family members
making beautiful artwork using
precious metals, gemstones, and
enamel. A er pursuing a successful
career in government and academia
in California for about three decades,
I decided to pursue my interest in
jewelry arts in general and enameling
in particular.
For the last two years, I have been
studying cloisonné enameling,

55
 "PRACTICE MORE.
IF YOU THINK YOU PRACTICE ENOUGH,
PRACTICE SOME MORE."
OLGA TONKOVA

56
Olga Tonkova, France

Dear young enamelers, the financial crisis of 2009, then had

I should say that you are quite lucky to look for a job and changed
to have started studying this cra so profession several times, giving
early in your life, as in the future you English lessons, cooking in a
will certainly have an advantage. restaurant, working as a salesperson, a
Maybe I am even a little bit envious as little bit of everything to make both
well, as my love story with enamel ends meet at the end of the month.
really began only when I was already Then I had the infamous 30 years
31 years old, even though it started old crisis when I le everything and
when I was 13. went traveling in search of answers.
We were visiting the museum of By some Fortune’s whim, I met an
Hermitage in St. Petersburg with our amazing enameller who became my
art school and stopped in front of first teacher, it was in Tbilisi. My
Faberge stand. Fascinated, wordless, advice: if you want to study cloisonné
absolutely conquered by this beauty go to Georgia, it is more affordable
and technical perfection, I dreamed than Japan and much closer.
to be like him one day. Once back in France I decided to
Be aware: our dreams are very open my own atelier, it took some
dangerous, they have the tendency to time, I still needed some training, I
come true, it may take time and you found old masters eager to teach me
will forget about them, but then one and I should say it was not always
day life brings them back on the table. easy: there were moments when I had
That is how it happened to me: my very little money to live on and was
parents were sure that I will never seriously considering taking any kind
earn my living with art or with of job just to earn my living… but then
jewelry making thus persuaded me to I would be betraying my dream, or so
choose something more practical. I I thought, so I persisted.
studied communication and public Three years into it I managed to
relations, worked in advertising until find work as a sub-contractor for a

57
watch-making company and now (mastering the matter: metal and
quite happy with the situation. glass). In my opinion, to be able to
Here’s what I can give you as advice: earn money with artistry you should
You should very well understand what have really outstanding ideas; to earn
exactly you want to do with enamel as your living as a cra sman you should
it is very vast and it is easy to get lost. have very good technical skills.
I always wanted to work with watch Try to be as cold-blooded as you
dials or in jewelry making, thus I was can, if you are passionate way over
pursuing technical perfection, trying your ears you risk being disappointed
to get any knowledge I could, honing and hurt by not being paid the fair
my skills a erward in my atelier. But price, by being criticized, by people
you might be more attracted by 3D not "understanding" your art and by so
objects, mural decorations or copper many other things. What is important
jewelry, which is also interesting. But is what you want out of it: you want to
you need to understand where you earn your living, then treat it as a
want to go. business; you want to express yourself
Once you know where you want to then keep it a hobby and earn your
go, find people (professionals) who are living with something else. Make your
already there and ask them for advice. choice being well aware of the
Practice more. If you think you consequences.
practice enough, practice some more. Meanwhile, I wish you luck and
Try to understand what is more patience to pursue your dream. If it is
important for you: being an artist really your dream then one day it will
(self-expression) or being a cra sman come true… if you move your ass.

58
"IF IT IS REALLY YOUR DREAM
THEN ONE DAY
IT WILL COME TRUE."

OLGA TONKOVA

59
 "JEWELRY MAKING ALLOWS THE ARTIST TO FULLY REVEAL HIMSELF."

MALI PORTNAYA

60
Mali Portnaya, Ukraine / Russia

I was born at the Black Sea in the

city of Odessa, which is a big
inspiration for me. I graduated from
the Institute of Architecture and Art.
In the first years of studying at the
Institute, I have realized that I want to
work with enamel. I've understood
exactly that it is important for me to
work with my hands, to feel tactful
what I am doing. Working with
composition, color, drawing is what I
rely on and that helps me every day.
My dear friend and mentor Ilgiz
Fazulzyanov has a great influence on
me and my work. Thanks to his
instructions, I can arrange my
emotions and experiences in metal in
the best way. Jewelry making, in my
opinion, allows the artist to fully
reveal himself. When I am working
on a new jewelry piece, I always want
to add a part of myself to it, but at the
same time, I would like it to have its
special character.
I suggest to everyone at the very
beginning of their way to be
dedicated to themself, work hard and
always, and to be on the lookout for
better self-expression.

61
 "Enameling isn’t weird,
it just smells funny!"

Gill Cordiner

62
Gill Cordiner, Australia

Making jewelry for me started as a Over the years, I got better and sold
hobby when my kids were little, more. Five years ago I opened a shop
because I never had the long periods where I sell most of my works. I make
of uninterrupted thought that I an inordinate amount of earrings:
required to paint. I trained as a many of them are very simple, but all
painter in Edinburgh and taught fine those earrings have furnished me
art for over a decade. with a studio, an income and a space
The jewelry was a great diversion to make even more incredible things.
and I loved it. One tutor showed us I have been enameling for nine
how to enamel a simple leaf, I was so years and I’ve been a finalist in the
transfixed, but he refused to teach me Saul Bell Award three times. Maybe
anymore and it was really all I wanted one day I will win, but for now, I love
to do, so I quit night class in nothing more than pottering around
silversmithing and started the long working on ideas that maybe one day
and all-consuming business of will be something noteworthy.
teaching myself to enamel in-between I love enamel and it's amazing how
nap time kids, dinner kids, lunches, much you can find in and raise a
trips to the park and grocery shopping. family. Enameling can be so simple
Enamel appealed to me because I and so complex and is completely
love color and I also loved the timeless. The internet has allowed me
alchemy of it. I started to sell some to learn so much and connect with
earrings to friends and every dollar I wonderful enamelists all over the
made I bought more tools equipment world. Enameling isn’t weird, it just
and enamel. smells funny!

63
 "THE PROCESS OF LAYERING ENAMELS
IS TO ME SIMILAR TO LAYERING LIFE EXPERIENCES."

JENNIFER WELLS

64
Jennifer Wells, Italy/USA

I relate working in enamel to life in

many ways. We will all reach our
melting point and once we do, we are
changed.
The process of layering enamels is
to me similar to layering life
experiences, each one adding a new
element to the work of creating,
whether it be a piece of art or life.
I have been working with enamel
for sixteen years, and love that this
media allows me to be constantly
challenged and to continually learn
new ways to manipulate the enamel.
My advice to anyone working or
beginning with enamels is to not fall
in love with the final idea, because,
just as in life, things will happen along
the way that you didn't expect.
Maybe you'll love it, maybe you
won't. Write it down to remember
how you got there, in case you want to
go again or not.

65
 "I NEVER ALLOWED ANYONE TO TELL ME WHAT I COULDN'T DO."
JOAN STROTT ALVINI

66
Joan Strott Alvini, USA

I'm a jeweler and an enamelist. I

work out of famed Jeweler's Row in
the heart of historic Philadelphia. My
training includes classes at Glen Echo
Park outside of Washington D.C.,
Haystack Mt. School of Arts & Cra s
in Deer Island Maine, and Moore
College of Art in Philadelphia PA.
I have practiced the art of fine
jewelry making and enameling for
over thirty years.
I fell in love with enamel at a young
age. I never allowed anyone to tell me
what I couldn't do. I am grateful that I
followed my passion for this art and
have been able to make a living doing
what I love for the past thirtyfive
years.

67
 "MY WORK EXPLORES OUR DEEP CONNECTION
TO NATURE AND TO EACH OTHER."
ALISA LOONEY

68
Alisa Looney, USA

At the age of four, I began drawing meaning. For other natural forms, I
and building with clay and sand on may choose to leave the metal in its
the banks of the Spokane River in natural color, add patina, paint, or
Northern Idaho. The movement of finish the surface with colorful layers
the river is still present in my work of glass enamel.
today. I fell in love with metal arts as a Fusing enamel to the surface of the
silversmith in my early years, work, adds depth and narrative in
received my BFA in Design from lustrous layers of glass. I am excited
Boise State University in 1983 and by the reflective qualities of this
began welding in 1998. medium and the ability to illustrate a
I returned to Idaho in 2010 to study story in minute detail on sculpture,
with enamellist John Killmaster, wall reliefs, panels, and jewelry.
which has allowed me to merge Recently, I have been adding images
sculpture design and narrative to found and reclaimed enamel pans
enamels into what I consider my and appliance parts. Images are built
most precious work to date. up in several layers of liquid kiln-fired
It is my goal to create sculptures porcelain enamel, which are applied
and images that bring joy, connection, using variations of dipping, spraying,
and meaning to people who sgraffito and painting techniques.
experience it. The shape and fabricate My work explores our deep
metal into open, energetic form, connection to nature and to each
portraying movement and the other. I am interested in how we, as
expression of life. Each sculptural humans, are coping with the
piece is plasma, laser and/or flame- environmental and cultural
cut from steel, bronze or stainless, challenges we are facing. My desire is
then sanded, hammered and welded. to explore the many ways we find
For public works in human form, a meaningful moments amidst these
colorful powder-coated finish adds a challenges, even joy, reaching for a
bold statement and symbolic calm acceptance of what is, while also

69
finding ways we can contribute to
healing our planet.
I am particularly interested in wild
free-flowing rivers, the source of all
life, and planting trees that provide
clean air to breathe. I have committed
to donating a portion of the proceeds
from this body of work to non-profit
organizations that work toward this
common goal.
Don't limit yourself to the enamel
styles and forms you have seen.
Experiment with cutting inventive
shapes and hammering forms to find
your own expression with the metal.
Then the fun part begins, thinking of
the many ways enamel can grace the
piece to complete your story. Try new
techniques, learn from others. And
most of all have fun! When things get
hard, remember why you began
enameling in the first place, and how
delighted you were the first time you
saw the fired glass come out of the
kiln and shine with brilliant color!

70
"HAPPINESS IS THE MOST IMPORTANT PART OF EVERYTHING.
ENJOY THE PROCESS."
REBECCA DI FILIPPO

71
 "DON’T BE AFRAID OF TRYING
NEW THINGS."

YUKIKO WILSON

72
Yukiko Wilson, UK

One of my aunts was an enamel contemporary designers, making for

artist and I used to visit her studio in both a national and worldwide
the corner of her garden in Tokyo market. Whilst this design heritage
when I was little. This might be the heavily influences my work, I also
unconscious catalyst for my work find inspiration in the natural and
with enamel; though it wasn't till historic landscape of the places I visit.
many years later that I started my I work in enameling, in part to
enamel practice a er being inspired respect the old cra smanship and
by the work of René Lalique. inherit the skills, but most
Born in a family running a importantly I value hand-made
traditional hand-cra ed kimono works, that express the warmth of
business, I have always been familiar nature and human touch.
with the longstanding heritage of Enameling has so much potential to
Japanese design, especially patterns explore and I'm fascinated by this
called Edo-komon. These designs traditional cra . I’m still learning
o en represent good-luck symbols or myself, but if I would say something
commonplace items such as toys and to young students, I’d say good
vegetables. These designs continue to foundation skills will help you to
have an almost spiritual hold over execute your ideas more easily.
Japanese people and are very much At the same time, don’t be afraid of
part of the current artisan tradition. trying new things and making lots of
Increasingly they are becoming a mistakes. A erward, you’ll be able to
source of inspiration for enjoy amazing discoveries.

73
 "ENAMEL RESONATED TO ME LIKE LIFE:
BOTH ARE PROCESSES WHERE THERE IS
COMBINATION OF CONTROL, UNCERTAINTY
AND UNPREDICTABILITY. "

POOJA SHAH

74
Pooja Shah, India

In my visual art, I explore and

express such wonder using
calligraphy and enameling.
Calligraphy was my specialist subject
at JJ School of Applied Art from
where I graduated. Since then, I have
worked in graphic design, but much
of my creative output has been in
enamel painting.
This beautiful material, colored glass
fused to metal, resonated with me
from the first time I tried it and it
quickly becomes my main method of
creating my vibrant art. The richness
of the material and the fiery processes
it undergoes reflects the richness of
life and the experiences it leads us
through. Every piece I create has the
intention to upli the onlooker and
make them closer to experiences of
wonder at different levels of
consciousness.
Enamel resonated to me like Life:
Both are processes where there is
combination of control, uncertainty
and unpredictability.
Whatever is presented to you, you
accept and then with same love make
it more beautiful and at end let it go!

75
 "MY WORK CELEBRATES THE HISTORY OF ENAMELING
AND ITS LONGSTANDING TRADITION OF STORYTELLING."
AURÉLIE GUILLAUME

76
Aurélie Guillaume, Canada

I'm a French-Canadian jeweler, With this work, I am reviving the

enamellist and illustrator from traditions of enameling, as well as
Montréal. A er completing my bringing sculpture and illustration
diploma at École de Joaillerie de into the context of contemporary
Montréal, I went on to pursue my jewelry.
BFA at NSCAD University where I
majored in jewelry design and
metalsmithing.
My work celebrates the history of
enameling and its longstanding
tradition of storytelling dating back
most notably to the Byzantine era,
where enameling was used to depict
religious icons. Using these traditional
techniques, my work revives the
medium through a contemporary
context fuelled by street art, comics,
pop art, and counter culture.
Employing a combination of jewelry
techniques and illustration, my work
mixes high and low art, while
transporting viewers into a world
more colorful and dreamlike than our
own. Through the process of
enameling, my illustrations transcend
the two-dimensional realm of paper
and are given new life in the physical
world as wearable objects.

77
 "I am still learning about enamels."

Debbie Sheezel

78
Debbie Sheezel, Australia

I began as a painter. When I had my to stick to the rules as much as

first child, my aunt asked if I would possible. Record everything that you
like to go to night school with her to do, because one forgets very quickly
attend a jewelry course. They had a small things that happen when firing.
large kiln there and they showed me Making mistakes is the best teacher.
how enamel adhered to metal when You never do it again!
in the kiln. I began to paint on large I am still learning about enamels. It
sheets of enamel at the college and is a huge area with many techniques.
a er a while decided to buy myself a
kiln. I was at that stage 21.
I have now been enameling for fi y
years and enameling is still my
passion. I went to University to learn
to be a jeweler and spent quite some
time doing just that.
I have gone from large paintings in
enamel to large bowls, then on to
jewelry. I have enameled the mural in
the International Airport in Brisbane,
Australia which is 16 ½ meters long
and 3 ½ meters high. I have taught at
RMIT University for many years and
have been on the Gold & Silversmiths
Guild of Australia for many years too.
I have won many awards including
the Saul Bell “Best in Show” 2019 and
Australian Jewellery Design Award
2019. My advice to other aspiring
enamellers is to experiment but also

79
 "ENAMEL IS ALIVE,
IT FEEDS OFF YOUR EMOTIONS."

HARRY FORSTER-STRINGER

80
Harry Forster-Stringer, UK

People always ask me how do I get

the ideas for my designs and I always
reply: ten minutes before falling
asleep, which is true!
This is really about my story. I was
born in East Ham on the dawn of the
sixties, the decade that put Britain at
the forefront of design and music. By
the age of five, I was living halfway
across the globe in Karachi and then
in Dhaka. We traveled extensively
through India and Nepal at that
period. I was exposed to so many
different influences, religions, cultures
and the vivid colors of that part of the
world. At that young age, it all got
absorbed, so now I hope it makes a bit
more sense.
Remember: always work clean, make
sure your work is free of grease, wash
your enamel well. I almost always add
some nitrite acid in my first wash
then wash, till the water is perfectly
clean with nothing floating in it! But
the most important thing is the
enamel is alive, it feeds off your
emotions, so if you are having a bad
day don’t even bother.

81
 "IT IS THE SYMBIOSIS OF THE ELEMENTS THAT I REALLY LOVE. "
RUDOLF MOLNAR

82
Rudolf Molnar, Slovak Republic

I'm a train dispatcher, truck driver, Be proud of your work but not
and enameller! priggish. Let your soul and art fly,
Enameling is my passion, my love, people will come and join you on
my damnation. your way.
I worked twenty years in the transport
industry as a train dispatcher, truck
driver, truck dispatcher but all the
time I dreamed about working with
my hands making arts, something
with metal.
I am medieval reenactor, so I started
working with hammers as a blacksmith.
Soon I discovered the bright colors and
beauty of enamels and I was hooked
and fell in love.
This material just uses metal to shine
even more. It is the symbiosis of the
elements (gold, enamel, gemstones)
that I really love.
My designs are inspired by nature,
old mythology, and real life. Anyone
can make modern geometric art
design, but using the cloisonné
technique to make a tiny dragon that
will look majestic is really challenging.
My advice is never to give up, even
you have just an old kiln and a small
piece of copper.

83
 INDEX

Liza Falzon 6-7

Merry-Lee Rae 8-9
Barbara Minor 10-12
Pankaj Soni 13
Gillie Hoyte Byrom 14-16
Mer Almagro 18-19
Natia Edisherashvili 20-21
Evgeny Baranov 22-25
Dario Scagliotti 26-27
Mario Alexis 28-29
Jill Tower 30-31
Tova Shpantzer 32-33
Paul Buforn 34-35
Wu Ching Chih 36-37
Teresa Ulldemolins Aguadé 38-39
Sergejs Blinovs 40-41
Sandra McEwen 42-43
Kyoko Iio 44-45
Trish White 46-47
Anna Betley 48-49
Junko Annoura 50-51
Pál Tóth 52-53
Rajesh Lathigara 54-55

85
 Olga Tonkova 56-59
Mali Portnaya 60-61
Gill Cordiner 62-63
Jennifer Wells 64-65
Joan Strott Alvini 66-67
Alisa Looney 68-70
Yukiko Wilson 72-73
Pooja Shah 74-75
Aurélie guillaume 76-77
Debbie Sheezel 78-79
Harry Forster-Stringer 80-81
Rudolf Molnar 82-83

86
 READ ME

This book was created thanks to the contribution of enamellers from all over
the world, whom I thank from my heart. Without the commitment of each of
them, all of this would not have been possible.
This book is released under the CC-BY-NC-SA license. In short, it means that
you are free to redistribute, copy and create derivative work from the book or
parts of it, as long as you credit the respective authors. Text and images in this
book belong to the respective artists, who made them available to help students
face bad days. Respect their work.
This book is not intended to make money, it should not be offered for sale. It
is available for free for all those who need it. Commercial works that make use
of this book in its entirety or parts of it are forbidden. Derivative works that
make use of this book in its entirety or parts of it are allowed, as long as they
use a license stricter or equal than the one of this book.

Do you have any suggestion or request you'd like to make?

Please contact me through my website: www.rebeccadenamel.com

Rebecca Di Filippo

87
 THANK YOU

There is no way to express my gratitude. There is no way that can show the
joy I feel in front of this book.
Putting your words together was exciting. It showed me once again how
united enamelers around the world are. Being part of this family is a privilege, I
know that in every part of the world there will always be an open door for me.
I have this certainty because I know that our relationship goes far beyond
being colleagues, we are friends. Even if we know each other just a little, we
have something that unites our souls. Rudolf Molnar always says that we have
the same diagnosis. It makes me laugh every time.
I know that in every part of the world there will always be an open door for
me and you know you can find it here, in Italy with me.
I hope that the young students will not let themselves be overcome by the first
difficulties encountered and that they will enter our world full of color and joy.
In this first year of teaching enameling, at Galdus in Milan, I realized many
things. First of all that every student enriches us in his own way. They may not
be aware of it, but they give us a lot. Above all, they give us the hope that this
ancient art will not be lost forever.

Rebecca Di Filippo

89