Crist Clapper Posted January 27, 2014 Report Share Posted January 27, 2014 Anyone happen to know how to recreate the gold on the head of this chicken? Thanks! Link to comment Share on other sites More sharing options...
neilestrick Posted January 27, 2014 Report Share Posted January 27, 2014 Metallic glaze or luster. There are a lot of commercially available metallic glazes. For the best shine, use a luster. Lusters are fairly toxic, so use in a well ventilated area and use basic cleanliness procedures when using. Rubber gloves aren't a bad idea either. Link to comment Share on other sites More sharing options...
Pres Posted January 27, 2014 Report Share Posted January 27, 2014 When Neil says well ventilated-listen. Lusters STINK, even though their effects are quite beautiful. They are not very durable, but for some things work well. Link to comment Share on other sites More sharing options...
Norm Stuart Posted January 27, 2014 Report Share Posted January 27, 2014 Using a ^05 lead-manganese "gold glaze" is far less expensive ($15 for a pint) than actual gold-rhodium-antimony/bismuth luster ($35 for a tiny thimble) fired to ^018 which also gives off toxic fumes, but you don't want to use leaded glaze on functional work. http://shop.clay-planet.com/pint-722-aztec-gold.aspx When applied over a previously fired ^6 glaze, like the yellow in your photo, this lead-manganese Aztec Gold is a very lustrous gold without the toluene vapor from gilding. The sample on the webpage above is how it appears when applied over clay without a fired ^6 glaze under it. Anyone happen to know how to recreate the gold on the head of this chicken? Thanks! Link to comment Share on other sites More sharing options...
Guest JBaymore Posted January 28, 2014 Report Share Posted January 28, 2014 It is not just the smell... the fumes from resinate lusters are toxic. Applying and early firing. Occasional use, single piece, small coverage is one thing...... long-term regular use on lots of work is another. best, .....................john Link to comment Share on other sites More sharing options...
neilestrick Posted January 28, 2014 Report Share Posted January 28, 2014 When I worked as a tech for a clay company, it was my job to portion out lusters from the big bottles into little 2 gram bottles. I'd lock myself in the lab so no one else could enter, turn on the vent fans, and put on my respirator, rubber gloves and safety goggles. Link to comment Share on other sites More sharing options...
PeterH Posted January 28, 2014 Report Share Posted January 28, 2014 neilstrick, Do you have any idea what caused the handling issues, in particular was it the resinates themselves or the choice of solvents? Regards, Peter Link to comment Share on other sites More sharing options...
Guest JBaymore Posted January 28, 2014 Report Share Posted January 28, 2014 neilstrick, Do you have any idea what caused the handling issues, in particular was it the resinates themselves or the choice of solvents? Regards, Peter This'll give you a good idea......... Cookson Matthey proguct...sold as "Duncan". http://siri.org/msds/f2/bzf/bzfqy.html I worked as a glaze development consultant for a majore ceramic manufacturer of tile and sinks and toilets and bathtubs where we used TONS of gold. BAD environment. Had some health isssues crop up. best, ...................john Link to comment Share on other sites More sharing options...
Norm Stuart Posted January 28, 2014 Report Share Posted January 28, 2014 It's all of the above. A basic luster is an oil like turpentine which has a sulfur attached to it using either hydrogen sulfide or sulfuric acid. This "Red Turkey Oil" is mixed with gold chloride acid or other metal salts, then mixed together with more volatile solvents like Toluene which can evaporate after application. The gold and other metal ions attach to the sulfur on the end of each turpentine molecule. In the kiln you're just firing-off the turpentine leaving the metals. One improvement leads to another to make the product perform better and before you know it the luster contains mutagenic chemicals I've never even heard of, like those on the list John Baymore posted. It's enough to make ^06 leaded gold and silver glaze seem the model of safety. neilstrick, Do you have any idea what caused the handling issues, in particular was it the resinates themselves or the choice of solvents? Regards, Peter Link to comment Share on other sites More sharing options...
Rebekah Krieger Posted January 29, 2014 Report Share Posted January 29, 2014 oooh I am intrigued … can I use them on glaze fired items and then re fire them at the low cone (020 i think is typical?) I LOVE gold everything… If I did it outdoors in the spring with a asbestos mask on.. would that do the trick? Link to comment Share on other sites More sharing options...
Norm Stuart Posted January 29, 2014 Report Share Posted January 29, 2014 I have read that many industries use newer colloidal gold lusters which do not contain toxic and volatile hydrocarbons. I've never seen them available for the art ceramics market. Demming's process of Kaizen, or continual improvement. John Baymore might know who to ask about them. To apply the current toxic hydrocarbon lusters, do it outdoors or in a fume hood, and stay away from your kiln when it fires. The instructions will tell you to fire them somewhere between ^022 and ^016. I've found ^018 about right. This is the 3M 6000 Dust Respirator we use to protect ourselves when handling high-silica material. http://www.amazon.com/3M-Series-Facepiece-Respirator-Assemblies/dp/B000FTEDMM/ To filter out the hydrocarbons used in lusters, you need to buy the 6001 Organic Vapor Cartridges for it. The cartridges are inter-changeable and replaceable when they lose their effectiveness. (see bottom photo) http://www.amazon.com/3M-Organic-Cartridge-Respirator-2-Pack/dp/B002KFDN6Q Mask with Dust Cartridge (above) Organic Solvent Cartridge (below) oooh I am intrigued … can I use them on glaze fired items and then re fire them at the low cone (020 i think is typical?) I LOVE gold everything… If I did it outdoors in the spring with a asbestos mask on.. would that do the trick? Link to comment Share on other sites More sharing options...
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