You are seeing into it, it's three-dimensional. And, like those other techniques, the method has scarcely changed over the millennia. The permanence of it was part of the attraction for Druin. I love the history of it, this feeling you have a heritage, a continuity. The evidence of that are some rings made in Cyprus during that era, their survival testimony to the medium's durability.
Subsequent layers fuse on top of each other until the desired color is achieved.
For Colette, the appeal of history didn't come into play at all. What the medium could do is what attracted me. Otherwise, I would never have become a jeweler. I am painting almost full time. The enamel must be something that I am painting.