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Found 13 results

  1. I am new first post so I hope I am in the right place. So my mom had a shop for over 25 years she did ceramics and porcelain. She was a master and did wonderful work. She did a lot of lusters and fine metals. She has become blind and I am tasked with Selling her things. I found a Box with 45 bottles of HANOVIA lusters and gold nost unopened in over 15 different colors including white gold mother of pearl gold essence halo gold.... I did some research and came up with very little I got the history of the company was unable to find when it closed other than a forum post from 2007 menti
  2. From the album: Mug inspired in vintage enamelware

    multiple uses for one mug
  3. Hi, I’ve been working with gold lustre and recently changed brands. I’m familiar with that dreaded purple that appears when the lustre is too thin, and I’ve also seen the lustre crackle when it’s too thick. I’ve not seen this matte kind of finish which is in the photo attached. The piece was glazed entirely and shiny before application. Is the application too thick or thin? If I reapply and refire will it go shiny gold? or is there something else wrong?
  4. I've had this article in my bookmarks for a while. I've used gold leaf in painting using bole and water size, but this oil size is something new I'm excited to try. A few artists make this technique work with pit fired terra sig. Working with impossibly thin gold is a joy. Just don't sneeze. http://www.steveirvine.com/goldleafhowto1.html For those who don't know Steve Irvine's work. He's brilliant. My favourite are his ceramic cameras that take real photos.
  5. Guest

    Burnish Gold Luster Mug

    From the album: John Baymore's Clay Work

    This cup is in the invitational exhibition "I'll Drink To That" at the Eclipse Mill Gallery in North Adams, MA until August 27th, 2017. Handbuilt, woodfired, American Shino, overglaze enamel, gold luster.

    © 2017 - John Baymore - all rights reserved

  6. Hi all, I've recently started experimenting with Duncan's Bright Gold and have two questions. On spots where the application was very light (as in, unintended residue) there's purple streaks. How can this be removed? Some of the luster ran and I'd like to clean that up. How can this be done? Would love to hear from the experienced luster users of this fabulous forum. Thank you!
  7. Can anyone give some insight to using and firing Kemper's KG-A Brilliant Gold? The only directions on the back is to fire to cone 019-018. Are there any other special instructions or can I just program my kiln to fire to cone 019 and that's it? No preheat, no holds?
  8. I recently started using duncan premium gold luster on some of my pieces. I'm finding that there is confusing information about the fumes, both before and during firing, and whether or not it is toxic to breathe. According to dogwoodceramics.com "Health & Safety 1. Overglazes contain solvents and should be used in a well-ventilated area. Those susceptible to odors (such as pregnant women) should be especially careful to work only in areas with an adequate ventilation system. During firing, odors are not dangerous but can be offensive. These odors quickly leave the area; howev
  9. Hi all, I want to try a formula for a ^5 gold glaze (it says 1230-1260 C, I suppose that's still ^5 ?) called "Gold Pigment" out of an old Ceramic Review issue, and I'm not sure what are the US equivalents to the UK materials the formula calls for. The entire formula is: Manganese dioxide 43 Copper oxide 5 Cobalt oxide 5 Red clay 57 Ball clay 4 Quartz 5 So what red clay? Redart? Which of all the different ball clays we have in the US?? If I use Silica 325 is it the same as the quartz this formula has? Is flint also the same as quartz? Also, an
  10. Wow... Every now and then you run across a free book worth passing on. This book may have been pointed out before, but I recently found it. The China Painter Instruction Book on Project Gutenberg is not exactly an China painting entry level instructional, it is a very brief booklet, it is old, but it is loaded with material that remains valid to this day. I loved it and and thought that other China painters, Luster and Gold users may find some benefit in reading it. Here is the link for the laptop version. http://www.gutenberg.org/files/48281/48281-h/48281-h.htm If you search for
  11. Hello, I am attempting to decorate cremation burial urns with gold trim, but cannot seem to find a way to create clean, straight edges that don't have rough spots. I have tried using auto detailing (pin striping) tape, but still tend to get somewhat ragged line edges. Can anyone suggest methods of application, and/or direct me to a source of instruction for applying gold? Thanks, Gabriel
  12. Has anyone attempted to use natural iron pyrite in a clear base glaze to a mid to high fire on stoneware? I would like to use iron pyrite collected directly from area streams which may contain minute amounts of gold or silver. I would like to avoid having to completely reinvent the wheel. I have a propane updraft kiln. Any advice or educated guesses are welcome.
  13. Hello! I'm not sure if this is the right forum or web site for this question, but... I have an old bone china tea set (c. 1920) whose tea pot has some worn gold gilding, both on the edge and on the outside decorative pattern. Is any repair possible? Are gilding pens or paints food safe? Would I be trashing the value of the tea pot? Thanks for any advice or thoughts...
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