Enamels and enamelling; an introduction to the preparation and ...
Enamels and enamelling; an introduction to the preparation and ...
Enamels and enamelling; an introduction to the preparation and ...
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72 ENAMELS AND ENAMELLING.<br />
When a preponderating qu<strong>an</strong>tity of ferric oxide is used,<br />
<strong>the</strong> fused enamels will exhibit a decidedly reddish tinge (flea<br />
brown) ; <strong>the</strong> addition of a yellow pigment will produce a<br />
yellowish brown, <strong><strong>an</strong>d</strong> so on.<br />
BLACK PIGMENTS.<br />
Although no direct black pigment for enamel is known,<br />
black enamels are easily prepared by employing some powerful<br />
metallic oxide, such as ferric oxide, cupric oxide, cobalt oxide,<br />
or m<strong>an</strong>g<strong>an</strong>ese dioxide, in larger proportion th<strong>an</strong> usual.<br />
Each of <strong>the</strong> aforesaid oxides produces a characteristic<br />
colour, but when <strong>the</strong> amount taken is considerable <strong>the</strong><br />
coloration becomes so intense as <strong>to</strong> appear black. Never-<br />
<strong>the</strong>less a comparison between two such black shades produced<br />
by, say ferric oxide <strong><strong>an</strong>d</strong> m<strong>an</strong>g<strong>an</strong>ese dioxide respectively, will<br />
show decided differences in <strong>to</strong>ne. However, <strong>to</strong> obtain <strong>an</strong><br />
absolutely pure velvet black all that is necessary is <strong>to</strong> mix<br />
<strong>the</strong> said oxides <strong>to</strong>ge<strong>the</strong>r <strong><strong>an</strong>d</strong> fuse <strong>the</strong>m with <strong>the</strong> enamel, <strong>the</strong><br />
various individual shades being <strong>the</strong>reby neutralised <strong><strong>an</strong>d</strong> con-<br />
jointly furnishing a pure black.<br />
It is evident that in <strong>the</strong> case of enamel masses intended<br />
<strong>to</strong> be coloured in dark shades or black no particular care need<br />
be taken over <strong>the</strong> purification of <strong>the</strong> raw materials, <strong>the</strong> yellow<br />
tinge due <strong>to</strong> impurities being completely masked by <strong>the</strong><br />
darker colour.<br />
On <strong>the</strong> o<strong>the</strong>r h<strong><strong>an</strong>d</strong>, <strong>the</strong> contrary is <strong>the</strong> case when enamels<br />
are <strong>to</strong> be obtained pure white or in delicate shades ; <strong><strong>an</strong>d</strong> in<br />
such event special artifices <strong><strong>an</strong>d</strong> adjuncts must be resorted <strong>to</strong> in<br />
order <strong>to</strong> attain a maximum degree of colourlessness in <strong>the</strong><br />
mass, since it is only under <strong>the</strong>se conditions that <strong>the</strong> full<br />
beauty of <strong>the</strong> superimposed colour c<strong>an</strong> be brought out.<br />
Consequently, every enamel mass intended for artistic purposes<br />
must be subjected <strong>to</strong> a process of decoloration.