An ornament is crafted in gold and then handed over tothe 'Chitera' (artist) for the desired design which is then outlined by the 'Thathera' (engraver). Finally the ornament goes to the 'Meenasaz' (enameller), who applies different colours with brushes on the engraved design. The surface of the pits in the gold are ornamented with etching, which serve not only to make the enamel adhere frimly, but to increase its beauty by the play of the light and shade through the transparent colours. Before applying the enamel, the surface isthroughly burnished and cleaned, the paint, which may have over-flowed, is carefully wiped with a piece of cotton and the article is left in the fire for half an hour for the enamel to be set frimly. It is then rubbed with corundumbone or 'Sohan' and again put in fire. The acid of tarmarind or lemon is then applied to the article. While in the furnace the article to be enamelled is placed on a plate of mica to keep it from direct contact with fire. It is very carefully shielded while cleaning or dying to prevent any dust attaching to it.

Colours are applied in the order of their hardiness or power of resisting fire, beginning with the hardest. In the order of their resistance the colour are white, blue, green, black and red. Pure ruby is the most difficult to handle and it is only the most experienced workers who can bring out its beauty. It was the jaipur enameller who alone could give a uniform transperent lusture to this colour, which facinated all who saw it. All colour known can be enamelled on to gold. Black, green, blue, dark yellow, orange and pink can adhere to copper; of these is the last is made to stay on with difficulty. Colours are procured in vitreous lumps and are ground with mortar and pestle and mixed with water.
Enamellers from Lahore (where they migrated to, from persia ), were brought to jaipur (Rajesthan) in the 16th -17th and 18th century. In India, craftsmen From Punjab, Jaipur, Lucknow and Varanasi possessed Knowledge about this intricate craft and the Varanasi and Jaipur enamel reached a high stage of perfaction and remained un matched in any part of the country.
The ornament of Kundan work are combined with enamelling, so that the particular prices of jewellery has two equally beautiful surface- the precious stones set on the front side and enamelling at the back. One reason why the enamel of this period has endured is, because it never come in contect with the skin. Neclaces were attached to strips of velvet, which not only proved comfertable but also prevented friction with skin and at the same time preserved the enamel.