How to Paint Enamel on Metal?

20181031Enamel is one of the most durable paints available. Metal is one of the most durable materials available. Therefore, painting metal with enamel will result in a very durable object, regardless of what the object is. As long as you pay attention to the preparation of your metal before painting, you will end up with professional-looking results for very little money and time spent.

Sand or wire brush the metal object to remove any peeling paint, loose previous coating or rust spots.

Spray water from the sink or garden hose onto the metal object to thoroughly remove any sanding dust. Allow the metal object to dry.

Lay newspapers or a drop cloth carefully on an outdoor or garage work surface, as over spray from spray paint cannot be easily removed.

Apply the solvent or acid to the entire metal surface with the rag. Use a toothbrush to reach into crevices. The solvent will remove any oils or difficult debris to further prepare the surface of the metal. Allow the solvent to dry.

Spray a thin coat of primer onto the object. Be sure to use wide, sweeping strokes to prevent the primer from pooling and dripping. Spray paint comes out fast, so you may wish to practice your spray technique on a piece of cardboard first. Be sure to thoroughly coat the entire metal object with primer.

Allow the primer to dry for several hours or overnight.

Spray a thin coat of enamel onto the metal object, using the same technique you used with the primer.

Allow the enamel to dry overnight, and then add another coat of enamel. Allow to dry overnight again before using the metal object.

This article comes from hunker edit released

Requirements for Enamel Frits

An enamel frit must soften and adhere to the substrate without damaging it. This requires a relatively low softening temperature, typically ranging from 1,050-1,500°F (565-815°C). A decorated ceramic object might fire at 1,500°F, while thin-stemmed glasses might deform at 1,100°F. Clearly the same frit will not work equally well in both cases.

Once softened, the frit particles should flow together to eliminate porosity and form a coherent glass layer. In addition to the softening temperature, this overall firing behavior is related to the viscosity and surface tension, both of which vary with temperature. The glass frit should not soften too much before the organic medium is burned away, or combustion gases or partially burned medium can damage or become trapped in the glass layer. Escaping gases can disrupt the decoration and its bond to the substrate, causing pinholes or flaking. Carbon or bubbles trapped in the glass can result in unwanted light scattering or discoloration that will alter the color and gloss. Optimal appearance requires first removing the volatile medium and then allowing the frit to soften and flow sufficiently to obtain a coherent, pore- and defect-free glass layer with a smooth surface.

The enamel frit and substrate must be thermally compatible, meaning that once they are bonded during firing and start to cool down, their TEC must match sufficiently to avoid excessive stresses, or the decoration could crack or peel; the substrate could even fracture. Pigment type and amount can influence the enamel frit TEC, but the glass frit plays the dominant role. Most enamels have a slightly higher TEC than the substrate, so that on cooling a residual tension and compression exists in the enamel frit and the substrate, respectively. Type I borosilicate glass TEC is around 3.3 x 10-6/°C, while a soda lime silica container TEC is about 9.0 x 10-6/°C, so the same frit is unlikely to work well for both substrates. Ceramic products from different manufacturers can have significantly different TEC values. This can lead to quality issues when decorating blended lots from multiple sources, so it is recommended to run compatibility tests whenever possible when lots or sources are changed.

Decorating enamels are often used because of their mechanical and chemical durability, properties largely dependent on these same characteristics for the glass frit. Within a glass family, hardness and chemical durability generally decrease as the softening temperature is decreased. The common desire to lower firing temperature or reduce firing time pushes decorators to use lower temperature enamels or to slightly under-fire their current enamel frit. Either approach can reduce the mechanical and chemical durability. This can happen if the decoration and substrate are poorly matched, particularly if cracks are present. Cracks or poorly bonded areas increase the probability of damage from chemical attack or mechanical stresses.

Note that “chemical durability” is a somewhat generic term, and that durability for a decoration can vary widely under different conditions (e.g., acids, bases, temperature cycles, etc.). Standard testing methods, where samples have been generated under conditions simulating production firing, are recommended in order to make relative comparisons between candidate enamels.

This article comes from ceramicindustry edit released

Porcelain Powder 325-Mesh

This is a fine grade of 325 mesh the correct fineness for cold casting. Porcelain powder or other stone-based powders are added to polyester resin, polyurethane resin, epoxy, gypsum cement or other binders. Small objects are cast and cured in suitable molds. To conserve powderl when casting large pieces you can dust (salt) the mold surface, brush a thin coating on the surface, spread or roll the metal on or spray a thin coating. The mold is then back-filled with resin or fiberglass, iron or steel shot, sand or calcium carbonate to increase the weight to give it the heft and feel of a hot foundry ‘pour.’

You can also lighten the piece by added hollow glass beads to your back up casting mix. After curing and removal from the mold the object must be gently abraded or burnished with fine steel wool (triple 0 grade), a pad, or sand blasted to remove the microscopic film of binder from the surface of the porcelain powder particles.

The object will have the authentic look and feel of a true porcelain powder. That is because the surface is now true porcelain powder.

This article comes from artmolds edit released

How To Torch Fire Enamel

Teaching yourself how to torch fire enamel? Don’t worry, it’s not as difficult as it may seem. Although it can be an intimidating project at first glance, torch enamelling is a simple way of creating varied finishes that will stand out, and help you to refine your torch firing techniques. Use our step–by-step-guide below on how to torch fire enamel, and you’ll be creating unique designs in no time at all.

Completely new to enamelling? Enamelling refers to the technique used to coat a surface of metal with enamel. The enamel is a coating of melted glass that, once heated, will fuse to the metal surface leaving you with a professional finish in a colour and effect of your choice. Most enamels come in powder form, and when heated and fused to the metal you’re working with, will transform into a unique glass coating.

This article comes from cooksongold edit released

cobalt blue vs royal blue

Blue is a color that has become the favorite of a lot of people all around the world. The color is immensely popular because it is often associated with calmness and equanimity, depth and stability, as well as intelligence and wisdom. It is universally accepted as the color of the sea and sky; both often become the objects that soothe our mind.

There is a very wide range of blue, from the lightest, whitish tint, to the darkest, almost black hue. However, cobalt blue and royal blue are perhaps the most popular ones when it comes to clothing. Below, you can find the comparisons between royal blue and cobalt blue.

Royal blue is the color that often arises debates. That is due to the fact that royal blue may refer to both the darker and brighter shades of azure blue. Traditionally, it was invented as a deep, dark blue with a faint purple or reddish tinge, crafted by millers in Somerset to win the dress-making competition for the British queen, Charlotte of Mecklenburg-Strelitz. However, in the 1950s, people began to consider royal blue as a brighter color, and this brighter shade is the one chosen as the web color. Today, royal blue clothing may come as the darker or the lighter variants.

On the other hand, cobalt blue is a blue pigment created by sintering at 1200-degree Celcius cobalt(II) oxide with alumina. It appears bright and medium, neither too dark not too light. Quite interestingly, it is lighter than the traditional royal blue, but slightly darker than the web color of royal blue. It has, however, distinctive superior brilliance and contrast.


So, royal blue is the intense azure blue that can be either darker or lighter, representing more maturity and royalty than cobalt blue. It is the color if you want to appear elegant. On the other hand, cobalt blue has a somehow more cheerful impression, best if you want to appear younger.

This article comes from ilookwar edit released