Hello ,
As you see at gravestones ,- they think to create a print for couple of hundred years ,...
If you interested in enamel processes and print with glass , porcelain and metal powders and plates - immortal print - you have to visit this site :
http://www.glass-on-metal.com/pastart/index.htm
Fused Photographs in Enamel:
The Ceramic Tissue Method
by James Doran
from Volume 13, No. 3, April 1994
Prior to the nineteenth century, portraits and portrait miniatures in enamel, were pretty much the exclusive indulgence of the aristocracy. Then came the Industrial Revolution, and with it, social upheaval and the dreaded Middle Class, whose consumer demands, even then, were insatiable. In the last half of the nineteenth century, photography, in its frenzied adolescence, offered a reasonable facsimile to traditional portraiture at a price that satisfied the throngs. Then, as if to answer some Bourgeois cry for enamel miniatures, a process emerged whereby photographic portraits of loved ones could be immortalized in enamel. These were not fuzzy reproductions like those seen in old newspapers, but were exquisitely detailed, subtly shaded, genuine photographic prints fused permanently onto enamel (or onto porcelain and glass, for that matter).
Best ,
Mustafa Umut Sarac
As you see at gravestones ,- they think to create a print for couple of hundred years ,...
If you interested in enamel processes and print with glass , porcelain and metal powders and plates - immortal print - you have to visit this site :
http://www.glass-on-metal.com/pastart/index.htm
Fused Photographs in Enamel:
The Ceramic Tissue Method
by James Doran
from Volume 13, No. 3, April 1994
Prior to the nineteenth century, portraits and portrait miniatures in enamel, were pretty much the exclusive indulgence of the aristocracy. Then came the Industrial Revolution, and with it, social upheaval and the dreaded Middle Class, whose consumer demands, even then, were insatiable. In the last half of the nineteenth century, photography, in its frenzied adolescence, offered a reasonable facsimile to traditional portraiture at a price that satisfied the throngs. Then, as if to answer some Bourgeois cry for enamel miniatures, a process emerged whereby photographic portraits of loved ones could be immortalized in enamel. These were not fuzzy reproductions like those seen in old newspapers, but were exquisitely detailed, subtly shaded, genuine photographic prints fused permanently onto enamel (or onto porcelain and glass, for that matter).
Best ,
Mustafa Umut Sarac
