Adhere pattern onto a 1-1/2" sq. piece of fine-silver sheet.

Using a center punch or awl, tap a “dimple” in each area to be removed. This will keep the drill from slipping when drilling the holes.

Drill holes, making certain to keep the drill perpendicular to the surface.

Using a jeweler's saw, cut out marked areas, making certain to keep the saw blade perpendicular to the metal and staying just slightly inside the lines on the pattern. Filing and sanding will take care of any excess metal left inside pattern lines.

(Note: Looking at the reverse side — the side with no pattern — it will be impossible to see if the cutout of the design looks right and that the opposite sides “mirror” each other.)

Cut out perimeter of heart shape, staying just outside pattern lines.

Using whatever needle files will fit, file the inside edges of holes perfectly perpendicular (at right angles) to top and bottom surfaces of the metal. Also file the outer edge symmetrical and smooth. Remove the pattern.

Cut sandpaper into long, narrow strips and attach them to a board with a clamp or thumbtacks. Clamp the board to your bench top so that pressure can be applied to the sandpaper strips (the strips can also be held in a vise). Thread strips through the cut-out holes and sand the interior edges smooth and straight. Also sand the perimeter symmetrical and smooth.

After all holes have been cut, filed, and sanded, sand both top and bottom sides of the entire piece so they are perfectly flat and all nicks and dents are removed. Also sand the edges smooth.

In a dapping block or sandbag, gently dome the metal. Generally the convex side will be the side people will see when the piece is worn.

Anneal the metal in a furnace at 1,200†F. Pickle in a warm solution and rinse.

Prepare the metal for enameling by scrubbing it with a brass brush or plastic scrubbing pad in soapy water, making certain to rinse well. Dry.

Clean your enamels. Grade-sift through a 325-mesh screen. Wash +325- mesh enamels in distilled water until rinse water is clean.

Mix a 1:5 solution of Klyr-fire and distilled water in a container.

Pour a small amount of solution into a plastic cup with wet enamel, swirl, then pour off the Klyr-fire/ water solution.

Again, pour a small amount of solution into the plastic cup with wet enamel. Enamel should be completely covered by a small amount of liquid.

Using a spatula or paintbrush, scoop a small amount of wet enamel from the cup and transfer it to the cut-out holes. It is important to have enough water on the spatula or brush, as these holes will be filled using the principle of surface tension (like a soap bubble held in a wand). Insert the brush or spatula into a hole, touch the side, and pull it around so that the enamel/liquid mixture spans the entire opening. Add more enamel until the hole appears to be completely covered. Check the back side to make sure the solution is not running out. If it is, wick some liquid out and continue. Vibrate the piece by rubbing the ribbed side of your tool against the piece to settle/compact the enamel powder. Turn the piece over and vibrate it again to center the enamel in its opening. Carefully wick off excess water with a piece of tissue or paper towel.

Repeat Step 16 until several holes are filled and the powder starts drying. (If previously enameled holes start losing powder when the piece is vibrated, it is too dry.) Clean any stray grains of enamel off the top of the metal with a small, damp brush or “Clay Shaper.” Transfer the piece onto a trivet and place it on wire mesh, on top of the furnace. Let it dry completely.

Fire the piece at 1,400†F for 30-60 seconds. Exact timing depends on size of the kiln, accuracy of pyrometer, how much heat is lost from opening the door, etc. Time your first firing for use with subsequent firings. For the first firing, “peek” until the enamel begins to darken and melt. Do not fire beyond “orange peel,” in other words, do not fire to maturity. When enamel is completely melted and the opening is not evenly filled, it will tend to blob up and cling to one side. The enamel must hold together, yet still span the opening as much as possible. If doing this method properly, any holes should get progressively smaller, until enamel covers the entire opening.

Repeat the filling and firing sequence, filling both new (unenameled) openings and partially filled cells, until all holes are completely spanned by enamel. When there is a complete covering of enamel in each opening, fire the piece for 75 seconds to mature, and smooth out the enamel. Everything should come out filled and smooth. If some cells have new “holes” in them, add enamel as before and fire to orange peel, until cells appear completely spanned again. Once more, do a “final” firing of approximately 75 seconds. When all holes are filled, the piece is ready for finishing. (Note: There is no “magic” number of times for firing. This project had approximately 20 firings. Just do whatever it takes!)

The goal now is to remove stray enamel from the metal surface, raise a gloss on the enamel, and polish the metal. Using a 200-grit diamond filing stick under running water, remove excess enamel from the top of the piece. Progress to 400-grit.

Using finishing papers, remove stray enamel from the back side of the piece.

Use 400-grit finishing paper on a sanding stick to smooth and even out the front. Progress to 600-grit.

Wash well under running water. With a glass brush and soap remove metal burrs and sanding debris. Rinse well and dry.

If any cracks have developed, add a few grains of appropriate colored enamel. Be certain to keep the metal surface clean of stray grains of enamel.

Place the piece on a trivet, on wire mesh, and thoroughly dry on top of furnace, as in Step 17. Fire at 1,400†F for 75 seconds. This should give the enamel a nice, shiny, smooth finish.

The metal can be highly polished or left with a sanded, matte finish.

Add a purchased split ring to the upper loop (or make a jump ring) and insert a chain. As a bonus, when not wearing the plique-à-jour pendant, hang it in a sunny window and enjoy its beauty.

. . . . . . . . . . . .
	• 1 board, 6" sq. • Brass brush or scrubbing pad • Center punch or awl • Clamps • 12 oz. container • Dapping block or sandbag • Diamond filing sticks, 200-grit and 400-grit • Drill bit, #61 • Finishing tools • Firing tools • Flexible-shaft or hand drill • Glass brush • Jeweler's saw and #2/0 blades • Metal spatula with twisted handle • Needle files (flat, round, etc.) • Small paintbrush or Clay Shaper • Pickling tools • Small plastic containers • Sifter, 325 mesh with top and bottom • Dishwashing soap • Enamels (+325 mesh, transparent, leaded or unleaded; avoid very hard firing enamels, artist's choice) • Fine-silver sheet, 16-gauge, 1-1/2" sq. • Klyr-fire • Rubber cement • Silver chain • Silver split ring • Thumbtacks • Tissue paper or paper towels
For information on supplies, please see the Annual Buyers' Directory. Always ask for the MSDS (Material Safety Data Sheet) for any materials you buy, which will give you reactivity, health hazard, and safe handling data.

 

Diane Echnoz Almeyda's love for jewelry and desire to learn how pieces were made led her to take classes in bead stringing, gem identification, and silversmithing. She loved the challenge of plique-à-jour and worked over a year learning the technique. She continues her studies of new techniques at workshops around the country, and shares her skills with others by giving classes of her own.