Dichroic glass on 'liquid enamels'

A rolled-out copper coin (i.e. rolled with a jewellery mill to remove the pattern and give more real estate to work on) was dipped in 'liquid flux', a powder which I mixed with distilled water to a suitable consistency. It was then fired, giving an unusually smooth and glossy clear coat. I then gave it a layer of 'liquid white', mixed from powder in the same way. Both powders had been bought from Vitrum Signum a year or so ago, awaiting a suitable time for experiment.

On firing, there was a pleasant smooth slightly matte white coating. To liven things up, I painted some little dashes of cobalt oxide in water into the surface, staining it with some dark blue patches. These remained matte through one or two more firings before starting to become glossy, presumably through vitreous material making its way through the surface oxide. Finally I laid a piece of dichroic glass on the enamel and fired that; on cooling, I found that I could 'pop' the top layer of glass from the dichroic, leaving an iridescent coating on the coin. Also, a significant amount of the white had been gradually dissolving into the clear flux below, leaving a bright image of the coin beneath.
The second piece, a small rectangle of copper with unwanted enamel experiments, was also treated to a small rectangle of dichroic glass fused to the surface. Or rather, two pieces, but the right-hand one slid off in the furnace.


The eyes have it...

The piece on the left is plain fine silver (from a rolled-out fine silver casting grain) with a faint leaf-vein pattern hammered in, and some enamel on to test colours. It was very boring, so I fused a pair of fine-silver eyes with purple enamel to the surface.
The right-hand piece is again fine silver, PMC this time, moulded from a real leaf (starberry). This gave the veins in reverse which was more attractive than the original. After enamelling, I thought it also benefitted from a pair of eyes, perhaps I've just seen too many cast leaves...


Glass enamels

I found a few pots of "glass enamels" which I had bought some two or three years earlier from a company called Potterycrafts, when I was thinking of doing some more glass fusing. Checking in the catalogue, I found that the firing temperature was just under 600C. Five samples were made, and two illustrated below;

I added a semi-abstract semi-pastoral image in primary red, blue and yellow to a discarded piece of copper which had a grey enamel surface, and fired it at 800C, out of curiosity. To my surprise, the colours didn't burn out, but gave the image shown. A second enamel piece, this time with a rather nice abstract leopard-skin pattern, had some spots added in the same primary colours, and fired at 600C. The result is the piece in orange / brown with darker spots.
The glass enamels were extremely easy to paint after adding enough distilled water to make a thin cream; so I am considering getting some "painting enamels" if possible, which are presumably equally painterly in effect and intended to be compatible with metal rather than glass. There have been no signs of distress on the enamels above.