The methods of applying the glass onto metal have varied considerably through the ages. The techniques illustrated by work on this site vary according to the effects required for the piece.

Most of the work is done on copper, although silver and gold can also be used (at a price!). Enamelling on alluminium and stainless steel require specially prepared enamels, but are possible for larger industrial applications.

The cloisonné technique refers to the divisions between colours created by the use of wire set into the enamel – copper or fine silver (975) is mostly used here. (Silver wire can be used on copper as long as the two metals do not meet as this creates an eutectic reaction spoiling the work.) The wire can be left proud , as is the case of many of the works on this site, or ground down with carborundum to be level with the enamel in between. The copper wire turns black when fired – this can be cleaned or left as a dark line.

Painted enamels are usually done on a copper panel which has been prepared with a white base coat. Overglaze colours are then used in much the same way as on painted ceramic ware.

Where cloisonné wires are not used the enamels can be dusted in dry powder form onto the copper, either directly or over stencils or resists. For fine lines the enamel surface can be engraved and oxides rubbed in for emphasis.

Most enamellers fuse their enamels in a kiln but much of the work illustrated here has been fired with a gas torch. This allows for more freedom of working as there is no kiln to heat up before firing can take place. The torch also can create certain lustre colours which are not possible in the electric kiln.