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Piaget Technique & Aesthetic: Part 2 – Enamel

Piaget Technique & Aesthetic: Part 2 - Enamel

Piaget recently released their craftsmanship 'know-how' watchmaking videos that premiered on PuristSPro.
We were very honoured that PuristS could be the first in the world to see them. Now they can be seen by all.

Please refer to previous articles about Piaget enamel watches by clicking the links below to find descriptions of the nine different enamel techniques.

Anita Porchet
An eminent current master of enamel techniques is Anita Porchet who has created some of the best pieces for Piaget and other brands like the Vacheron Constantin miniatures and Jaquet Droz paillonee series, to name but two collections familiar to PuristS. As an independent artist, Anita carries on the Swiss tradition of a specialized horizontal structure, in which, suppliers, craftsmen and sub-contractors supply movements and external parts to assemblers called "établisseurs", who put the final product together. Piaget is familiar with this historical supply chain as it was founded as a supplier of movements and components, although it is now a vertically integrated structure or Manufacture.

I spoke with Anita during the 2012 launches of the two most recent Piaget enamel watch Collections – Dragon & Phoenix and Limelight Garden Rose Party – the former for the Year of the Dragon and the latter for the 30th anniversary of the Yves Piaget Rose winning three prizes including the Coupe du Parfum-Rose d'Or. The Piaget Rose figures prominently in the Piaget product lines.

She reminded me that enamel is just glass which is ground to a powder before being fired and fused on a metal base. Traditional metals for enamelling watch dials include gold, silver, and copper; although aluminium and steel are suitable for industrial processes. At Piaget, they always use gold plates for their enamel dials. The ground glass powder is a combination of silica and soda ash with added metal oxides to give colour.

Counter enamelling – First; the Backside
Although this is not strictly a technique, it is a necessary step in many techniques. The first step is to apply enamel to the back of a piece – sandwiching the metal – to create less tension on the glass so it does not crack. Enamel is always placed on a metal die plate and only copper, silver and gold possess the qualities required for this purpose. In keeping with constant pursuit of excellence, Piaget uses only gold for all its creations. Depending on the thickness of metal, the piece will need to be counter-enamelled. The enameller uses a fine brush with plant glue and leaves it to dry before proceeding to the firing process.

Pure enamel
Beauty often stems from simplicity. Thanks to its extremely deep hues, enamel enables watchmakers to create models featuring exceptional finesse and understated elegance. Piaget is keenly aware of this, and even though the Manufacture is well acquainted with the various enamelling techniques, it is prepared to use the simplest and purest form. The laborious preparation involves grinding raw enamel in a mortar into a much finer substance. This flour-like powder is rinsed, and re-rinsed until clean, and then stocked in distilled water. This painstaking work by Piaget ensures that the end result is a pure enamel with an increased ability to withstand the degrading effects of Time.

A monochrome enamelled dial punctuated by slender Roman numerals belies the craftsmanship required. Vividly revealing the fundamentals of the art of enamelling, this process consists of applying the enamel in layers, one firing after another, in order to mark the numerals and the brand logo. The enameller’s know-how manages to achieve a subtle nuance in the shade of the material so as make it a perfect match with that of the watch case or bezel.

Compared with other enamels, the distinctive nature of “grand feu” enamels used by Piaget is because they reach melting point at a far higher temperature (820 - 850°C). This technique makes them extremely pure and guarantees the longevity of the resulting models. Raw enamel comes in lumps or as coarse powder. During the preparation process, the material is ground in a mortar to create an extremely fine powder, which is then thoroughly rinsed. The cleaned and ready-to-use enamels are stocked in distilled water.

Champlevé enamelling
Recesses in the form of patterns or designs are carved or etched into the metal and the enamel is wet packed into these areas. Champlevé, French for "raised field", is where the surface is carved out to form pits in which enamel is fired, leaving the original metal exposed.

Piaget employs champlevé enamelling by engraving a motif on a metal die mould before filling the cavities with enamel. Using a drypoint (graving tool), the engraver traces the desired motif on the watch case or dial. Being careful to avoid the contours, he hollows out the various fields, thereby achieving a relief engraving featuring grooves of various widths and thickness according to the desired effects, with rims as clear-cut as possible. The enamels are then applied to the crevices before being melted at over 800°C.

Such a creation calls for several firings, followed by a lapping (polish) process to smooth over the surfaces of the work and a glazing firing to give it its final appearance. Close cooperation and genuine creative complicity between the engraver and the enameller are required, since the final result will depend on both of their work, especially when using translucent enamels that enable one to view all the details of the engraving through their transparent coating.

Champlevé flinqué enamelling
With the flinqué technique, the enamel both reveals and protects the precious metal base. Often transparent and occasionally coloured, it forcefully highlights the guilloché-work and intensifies the shimmering reflections inherent to this technique.

Flinqué enamelling may be used on its own, but also as a backdrop for other decorations such as miniature painting. Moreover, it provides scope for an exceptional play on colours of which Piaget is a well-recognised exponent, thanks to the talent of the enamel artists and guilloché-work specialists who faithfully and meticulously perpetuate the time-honoured gestures of Haute Horlogerie decoration. Piaget combines engraving a basket-weave guillochage pattern known as "panier" with enamelling. This combination of decorative techniques creates a dial of immense depth, and a trompe l'oeil effect of swirling movement.

Painted Enamels and Grisaille
Traditionally very finely ground metallic oxides are painted onto a white enamel base with fine brushes and fired, layer upon layer. The process, which is analogous to painting, can produce a detailed three-dimensional quality. Grisaille is painted in a similar fashion but reversed: the background is black or dark blue and the images are applied in various densities of white to give a chiaroscuro effect. Painted enamel, a design in enamel is painted onto a smooth surface. Grisaille and Limoges enamel are sub-categories of painted enamel.

Grisaille

French term meaning "greying", where dark, often blue or black background is applied, then limoges (Limoges porcelain) or opalescent (translucent) enamel is applied on top, building up designs in a monochrome gradient, paler as the thickness of the layer of light colour increases. Limoges enamel, made at Limoges, France, the most famous European centre of vitreous enamel production. Limoges porcelain, named after the town in France where it was invented, is the technique of "painting" with a special enamel called "blanc de limoges" over a dark enamelled surface to form a detailed picture, often human figure. It is a form of Grisaille.

Sgrafitto
This technique is where an unfired layer of enamel is applied over a previously fired layer of enamel of a contrasting colour, and then partly removed with a tool to create the design.

Cloisonné enamelling  

Cloisonné is an ancient technique for decorating metalwork objects with vitreous enamel; and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonné. Cloison is French for "cell" formed by raised barriers, which contain different areas of enamel applied above the original metal form. The enamel is contained within wire cells (cloisons). These wires are usually fired onto a base coat of flux (a clear transparent enamel), then filled with wet enamel. The wet enamel is often applied with quill in layers, a technique known as wet-packing.

The cloisonné enamel technique consists of creating compartments to form a motif. The cloisons are formed on the metal object by soldering or adhering silver or gold wires placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colours. Some cloisonné wire is electroplated with a thin film of gold, which will not tarnish as silver does. Piaget uses only gold wire, in the pursuit of excellence. The bends are all done at right angles, so that the wire does not curve up. This is done with small pliers, tweezers, and custom-made jigs. The cloisonné wire pattern may consist of several intricately constructed patterns that fit together into a larger design.

Solder can be used to join the wires, but this causes the enamel to discolor and form bubbles later. Most ancient Byzantine enamels have soldered cloisons, however the use of solder has fallen out of favour due to its difficulty, with the exception of some "purist contemporary enamellists" who create fine watch faces and high quality jewelry. Instead of soldering the cloisons to the base metal, the base metal is fired with a thin layer of clear enamel. The cloisonné wire is glued to the enamel surface with gum tragacanth. When the gum has dried, the piece is fired again to fuse the cloisonné wire to the clear enamel. The gum burns off, leaving no residue.

Vitreous enamels in the different colors are ground to fine powders in an agate or porcelain mortar, then washed to remove the impurities that would discolour the fired enamel. Each color of enamel is prepared this way before it is used and then mixed with a very dilute solution of gum tragacanth. The vitreous compound consists of silica nitre and lead oxide to which metallic oxide is added for colouring. Using fine spatulas, brushes or droppers, the enameller places the fine colored powder into each cloison. The piece is left to dry completely before firing, which is done by putting the article, with its enamel fillings, in a kiln. The enamel in the cloisons will sink down after firing, due to melting and shrinkage of the granular nature of the glass powder, much as sugar melting in an oven. This process is repeated until all cloisons are filled to the top of the wire edge and to heighten the intensity of the colour. After the last firing, the piece is lapped and glazed to create the final effect.

Three styles of cloisonné are most often seen: concave, convex, and flat. The finishing method determines this final appearance. With concave cloisonné the cloisons are not completely filled. Capillary action causes the enamel surface to curve up against the cloisonné wire when the enamel is molten, producing a concave appearance. Convex cloissoné is produced by overfilling each cloison, at the last firing. This gives each color area the appearance of slightly rounded mounds. Flat cloisonné is the most common. After all the cloisons are filled the enamel is ground down to a smooth surface with lapidary equipment, using the same techniques as are used for polishing cabochon stones. The top of the cloisonné wire is polished so it is flush with the enamel and has a bright lustre.

Plique-à-jour cloisonné
Plique-à-jour, French for "braid letting in daylight" where the enamel is applied in cells, similar to champlevé, but with no backing, so light can shine through the transparent or translucent enamel. This cloisonné variation is made with the hollows glued to a thin copper base which is then dissolved with acids. There is therefore no base by the end. The enamel is fired into an open metal framework, which results in transparent-like effects like those of a stained-glass window.

Dragon and Phoenix Collection

The collection featured various decorative techniques by engravers, jewellers and enamellers. The enamel techniques represented were champlevé with miniature painting (Protocole XXL), grisaille (Tourbillon Pocket Watch) and cloisonné (Altiplano).

Altiplano Dragon (cloisonné)

Protocole XXL Dragon (champlevé with miniature painting)

Square Altiplano Tourbilon Pocket Watch (grisaille)

The featured cloisonné grand feu enamel and showcasing a monochromatic palette. In Chinese ink-and-wash paintings it is possible to use ink alone to create a rhythmic balance between brightness and darkness, and density and lightness, and to create an impression of the subject's texture, weight and colouring. This is done through 8 basic brush strokes, 5 ink tones (black, wet black, dry black, wet grey and dry grey) and an infinite shades for each tone. Piaget designers and Anita were inspired by the spirit of ink-and-wash painting.

Anita used white to light-grey for the Phoenix and light-grey to slate-grey for the Dragon. The final versions took 6 months to research and develop before she and Piaget achieved the effect that the art design required. Finally, the process required 15 consecutive firings. Most owners may not realise that the grey shades used for the sky are different from those assigned to the Dragon and Phoenix characters. After that many firings, sometimes the original greys turned out blue or green, thus necessitating a return to the chemistry bench to tweak the formulae. The amount of yellow gold wire was reduced and the shapes simplified so they did not appear prominently in the final product. The secret of fine cloisonné is "that which is not seen".

Too much gold wire is seen before the enamel is bulit up

Anita made all the cloisonné grand feu enamel dials alone but the different processes were not applied sequentially to each dial. When she was cutting the wires and forming the cloison, she preferred to work on batches of three or four pieces because the skills are different from applying enamel; one has to get 'into the groove', so to speak. For the enamelling cycles, each dial is completed before starting another. The final finishing polish process was also on batches of four pieces. She had more artistic licence or liberty for varying the clouds from piece to piece but tried to keep the Dragon and Phoenix appearance similar to the final design.

Favourite Dragon
When asked which was her favourite piece from the Dragon and Phoenix Collection, Anita was as diplomatic as a proud mother with many children but we finally presuaded her to name one. It was the square Piaget Altiplano Tourbillon Pocket Watch. She chose it because it showcased the rare grisaille technique and the artistic juxtaposition of a round opening within the square case. She was particularly excited about reviving an ancient technique for a contemporary watch.

This is a miniature enamel of monochrome or near-monochrome painting. She used just two grand feu enamel colours: black for the background, and Limoges white enamel for the dragon. The enamel is relatively translucent and the more intense white hues are achieved exclusively by super-imposing layers. The shades of grey are achieved by stretching the white enamel to create a transparent effect. The more the enamel is stretched, the thinner the layer and the darker the resulting grey. The dragon is thus made by successively added layers of white enamel in varying degrees of thickness. This super-imposition is visible to the naked eye, since the dragon is embossed or raised, thus creating a distinctly sculptural effect.

Miniature Enamel Painting
The technique of miniature enamelling or enamel painting is probably requires the most patience and artistic know-how from the enameller. It involves covering a gold plate (for example: pocket-watch cover, case-back or dial) with a coat of fired enamel that will then be used as the backing support for the design. The motifs are then applied to this first coat of enamel and are painted entirely by hand. The powders used for miniature enamelling are extremeely fine and are mixed with oily substances instead of water, to facilitate their application.

The painting is applied with a brush in several fine coats and the piece is fired between each of these coats. As the colour of the enamels becomes increasingly intense with each passage in the kiln, the enameller must calculate the number of firings required in advance, as well as the precise influence of each successive firing on the intensity of the enamels, in order to prepare the initial palette of colours. Once the painting is finished, the Geneva technique – as demanded by Piaget – requires the painting to be protected by a coat of transparent flux enamel called fondant', which will also create depth and radiance.

The creation of high-quality miniature enamel painting can be a challenging adventure for even the most seasoned enameler. It's a demanding practice that calls for patience and extensive knowledge of various artistic techniques. More than just a craft, miniature enamelling is an art that gives rise to some extraordinary paintings. The objects created in miniature enamelling testify to the incredible virtuosity of these artists who are truly in a class of their own. An art characterised by rigorous standards, tireless patience and a flair for details, miniature enamelling has naturally found its place in the world of Haute Horlogerie. Displaying the unfailing excellence that pervades all their work, the long-established Piaget teams of designers and enamel specialists enjoy the privilege of constantly enhancing the brand’s creations. Enriched over the years by their spirit of cooperation and respective skills, they work on exploring new techniques creating new effects – as vividly demonstrated by the Piaget Limelight Garden Rose Party and Orchid collections.

Limelight Garden Rose Party Collection

For Anita, the unique attraction of this Rose collection is the pure miniature enamel technique unlike the combination techniques used for the Dragon and Phoenix or Orchid Collections. Even if it looks like many shades of a monotone piece, there are many colours. There are some reds, purples, pinks and violet. Despite being a miniature specialist, Anita found that each new piece still takes a longer time to produce. She considers herself to be in the learning phase and pushing the boundaries for each piece takes more time.

It is fascinating how a master enameller can visualise 'colour' variations because the painted material is a different colour from the fired result. For example, the various pinks appear as white streaks on a white enamel base before firing. For many colours, Anita knows the before-and-after firing results but for new colours, she has to do test firings for the interactions and super-impositions between the different salts used.

Philosophy in Irony

We asked Anita why, amongst the watchmaking arts, is enamelling dominated by women?

Originally, enamel was mastered more by men but with the drop in demand during the last century, the technique was abandoned and almost extinct. As demand dropped, so did the social recognition and livelihood; it was abandoned by men. Anita proferred the irony that when the social recognition dropped, men also dropped the profession quicker than women. The know-how was kept alive by women without the encumbrance of recognition nor livelihood. It may also be related to the Swiss cultural changes with the analogy of the medical profession. Previously, there were no women doctors but as they became accepted their numbers increased and now the majority of Swiss medical graduates are women. Today, as demand increases, men are returning to the art. Even so, the enameller is not guaranteed a livelihood as Anita pointed out she had no work during a whole year in 2000.

When good fortune smiles, many brands may commission projects at the same time. How does Anita manage 'time management' when every brand wants their product prioritised?

Its more than the brand that determines that. Its more the people that she is working with; Anita and Piaget have built a relationship over years. The good connection that she has with the Piaget designers motivates her to push things forward. Anita knows her colour palette and can propose combinations to suit the design concept.

Another irony is that as demand increases, there are no supplies of top quality enamel and colour raw materials. Anita has a dwindling stock of material from the finest factory before it burnt down and the recipes lost forever. Even if someone could analyse the material, it could not be manufactured today because of modern regulations about heavy metals and other Health and Safety concerns. Particularly, there will be fewer enamels in the yellow spectrum.

When Anita receives a consignment of modern lower quality but safer enamel material, there are still health warning stickers everywhere. Knowing that she works with old, high quality but "toxic" enamels, using her fingernail as a palette, Anita had a precautionary medical toxicity test. There was much ado about nothing because the levels were so low that one wonders if the Health and Safety Executive will bring all European industry to a halt for nothiing!

Enamellers and the Internet
As more people take up enamelling today, the maintenance of quality is of concern to Anita. What is so-called enamelling may not be authentic material or technique. I asked about the role of the Internet and websites like PuristSPro. There are many techniques and different quality of enamels. Anita thinks it is important that people who know enamelling and connoisseurs communicate the right way and with the correct content on the Internet. The medium is transparent and accessible but it is important that what is published is right. The contribution of PuristS is to ensure that true connoisseurs can distinguish different techniques and quality of enamel with a critical eye. That on-line discussion could be stimulating also and more detailed than "social media".

We have stories of readers of PuristSPro website who went on to become watchmakers but not yet any that became enamellers. Anita noted that enamelling still suffers from exclusivity; there are no Enamel Schools today. The only recourse for the interested PuristS reader is to become an apprentice to a current master...or more likely – a mistress.

Conclusion

I hope, dear Reader, that you found this Internet journey through Piaget Technique & Aesthetic of Enamel and Interview with Ms Anita Porchet as interesting as I had reporting.

This is Part 2 of a continuing series Piaget Technique & Aesthetic.

Piaget Technique & Aesthetic series:

Piaget Technique & Aesthetic: Part 1 – Design: CLICK the following link
piaget.watchprosite.com

Piaget Technique & Aesthetic: Part 2 – Enamel: CLICK the following link
piaget.watchprosite.com

Piaget Technique & Aesthetic: Part 3 – Gem-setting (Watch Making): CLICK the following link
piaget.watchprosite.com

Piaget Technique & Aesthetic: Part 4 – Gold Thread Embroidery: CLICK the following link
piaget.watchprosite.com

Piaget Technique & Aesthetic: Part 5 – Hard Stone Dials: CLICK the following link
piaget.watchprosite.com

Piaget Technique & Aesthetic: Part 6 - Engineering: CLICK the following link
piaget.watchprosite.com

Dr M Teillol-Foo, PuristSPro

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