Airspray Lustre

[Emma Potter]

Hi,

Is anyone able to advise how to use lustre with an airbrush?

In particular how much should it be diluted by? The bottle states to dilute at 10% but presumably this is for painting? I only have 2g and want to create a light shimmer over my fired pots so should I dilute it considerably more than this?

Many thanks,

Emma

 

[Min]

Not sure airbrushing bottled lustres would be a good idea insofar as having such a toxic material airborne. Lustres are toxic enough when used with a sponge or brush, having that material sprayed isn't something I would suggest doing. 

[PeterH]

Hopefully somebody knows how to achieve the "shimmer" you want without spraying.

Can I suggest that you don't take the airbrush idea any further until you have carefully assessed the H&S aspects.

I have no practical experience with lustres, but did know years ago I did know somebody who had a garage industry making  them. He was so un-enamoured with the solvents used in main-steam commercial lustres that he restricted himself to using turpentine. Expensive but  safer to use.

A couple of references to start the ball rolling.

How to Use Ceramic Luster Glaze  https://ceramicartsnetwork.org/daily/article/How-to-Use-Ceramic-Luster-Glaze
Use a properly fitted respirator that blocks fumes during application (1), and work in a ventilated space with plenty of airflow. Ceramic luster glaze has toxic fumes when it’s in liquid form. As long as the weather is nice, I apply my luster outside.

Lusters
https://demaine.org/wp-content/uploads/2022/04/lustre-ceramics-monthly.pdf

Health and Safety and Overglaze (in particular lustres)
https://demaine.org/wp-content/uploads/2022/04/health-safety-and-overglaze.pdf

Health and safety in ceramics is always an emotive issue and I am well aware that it is up to the individual to become acquainted with the potential hazards and the risks associated with the materials and work methods employed. Ultimately we all have to take responsibility for our own actions.  

The options available can be discussed under the following headings
• Substitute materials/work practices
• Dilution ventilation
• Local ventilation
• Personal ventilation

Unfortunately lustres contain solvents and there is no safe way around this apart from switching to reduced lustres. Dilution ventilation means having windows open and a fan drawing the fumes away from the workplace. This is satisfactory if only small amounts of lustre are being used. Local ventilation means a booth constructed over the workplace drawing the fumes away. Personal ventilation is the use of a respirator while working.

My method of protection from fumes is as follows. I use a fume booth constructed by my husband together with a respirator while I have developed a method of working that limits my exposure to the hazards involved. I use a resist method whereby I estimate that 90% of my time is spent using lustre resist which is quite inert. The other 10% is the actual application of the lustre, as all the fine lines apart from some gold pen work is achieved by resist. I am confident
that I am limiting my exposure to lustre.
 

Edited September 16, 2022 by PeterH

[Callie Beller Diesel]

You said you want to create a light shimmer. I’m assuming you’re talking about using a mother of pearl lustre. If that’s the case, be advised that if you apply too light of a layer, it won’t show at all. It also shows to best effect if you brush it on with short, irregular strokes. If you want MOP that is legible, take every rule about applying smooth brushstrokes and do the opposite. 

[Min]

I thought MOP at first too but then I noticed Emma mentioned 2 grams, which I believe is what the precious metals are sold as; weight not volume. If this is the case then putting them on lightly will not give the gold colour at all but rather a purple. (yup, I've done that with the gold)

[Bill Kielb]

5 hours ago, Emma Potter said:

Is anyone able to advise how to use lustre with an airbrush?

In particular how much should it be diluted by?

If you are sure it’s gold …..

For gold to be gold it needs to be applied fairly thick and uniform. If applied too lightly it fires green so this would be really hard to airbrush on to a descent thickness. And of course aerosolizing most of these are generally relatively hazardous. As mentioned above MOP (Mother of Pearl) provides a pearlescent look, not necessarily gold so are you seeking shiny gold as commonly used to decorate the rims of wares?

 

 

[Emma Potter]

Thanks everyone, that's all really helpful. It was a gold colour that I was aiming for but good to know that it's unlikely to achieved the desired effect using the airbrush before I waste it all.  I'm going to try using the MOP technique Madeleine suggested. Thank you!

[Min]

5 hours ago, Emma Potter said:

I'm going to try using the MOP technique Madeleine suggested. Thank you!

Callie not me 

[Bill Kielb]

28 minutes ago, Rockhopper said:

I'm pretty sure "MOP" is not just technique - it's a different lustre altogether.

17 hours ago, Bill Kielb said:

As mentioned above MOP (Mother of Pearl) provides a pearlescent look,

 

9 hours ago, Emma Potter said:

I'm going to try using the MOP technique Madeleine suggested.

Video here: https://youtu.be/CHbAnW79bq4 for Mother of Pearl application you may find handy.

 

[Min]

1 hour ago, Rockhopper said:

I have never used lustres - but I'm pretty sure "MOP" is not just technique - it's a different lustre altogether.

Yes, MOP is short for Mother of Pearl. For Mother of Pearl application swirling the brush as the lustre is applied makes a good finish, don't want to do that for the metallic gold lustres. Smooth and even coat is better for golds.

[PeterH]

MOP over a black glaze

 

[Pres]

@Emma Potter, years ago, when teaching HS, I had several different lusters that I would allow the students to use sparingly on their pieces. It was one of the things that stayed locked away until a situation would make me take them out. It may have been a particular pot needed an accent of gold trim, or a gem stone on a pot decoration needed to look richer with a mother of pearl finish, or the obvious the inside of a clam shell pot. When doing this, it was a controlled atmosphere for me, rubber gloves, masks when working with the material. I would get the students to know that working with it had to follow my rules, and in order to drive home the idea I would have them take a distant sniff of the luster to understand that it wasn't something to play with. The luster glaze was applied by brush over areas of gloss white or Black glaze, with one exception where we fired it over an Iron Red glaze with very interesting but beautiful results. All of the firings were done with restricted access to the kiln area as I did not have a hood or downdraft, just a large vent fan in the wall over the the kiln and still the room would have a slight odor. I mention these things to get your to understand that it is not something  to do lightly. I shudder to think of someone airbrushing lusters in a naïve manner.

 

 

best,

Pres