Autumn Downey on tue 27 aug 96
I'm making this query for a friend. She is using gold leaf to highlight
some sculptural pieces, but finds it too glitzy. Is there a way to give it
a more antique look?
If you aren't posting to clayart, you can send directly to her (Esther
Tennenhouse) at this address: Ron_Klassen@mindlink.bc.ca
Thanks. It's really great to have the collectve Clayart wisdom as a resource.
Autumn Downey
downeya@internorth.com
Yellowknife, NWT, Canada
Jonathan Kaplan on tue 27 aug 96
>----------------------------Original message----------------------------
>I'm making this query for a friend. She is using gold leaf to highlight
>some sculptural pieces, but finds it too glitzy. Is there a way to give it
>a more antique look?
>
>If you aren't posting to clayart, you can send directly to her (Esther
>Tennenhouse) at this address: Ron_Klassen@mindlink.bc.ca
>
>Thanks. It's really great to have the collectve Clayart wisdom as a resource.
>
>Autumn Downey
>downeya@internorth.com
>Yellowknife, NWT, Canada
You might try some cool wax based pigments from American Art Clay in
Indianapolis called "Rub 'n Buff. Cute product name, but fabulous stuff.
Jonathan
Jonathan Kaplan
Ceramic Design Group Ltd./Production Services
PO Box 775112
Steamboat Springs CO 80477
(970) 879-9139*voice and fax * email jonathan@csn.net
"Show up, pay attention, be a good listener, tell the truth, don't be
attatched to the results!"
P. Jaine Jacobs on tue 27 aug 96
To Esther c/o Autumn, the problem may be the particular leaf you've used.
Metal leaf of unspecified content, while affordable, will most likely look
glitzy; 18 kt. gold leaf is less so and will not. Then there's that whole
range in between... You might also consider other metals - copper or even
bronze leaf might give you more of the antique look you're after without
breaking the bank. Good luck,
Jaine in Cresskill, NJ, under a bright, sunny sky
WHampton@aol.com on tue 27 aug 96
In a message dated 96-08-27 08:29:00 EDT, you write:
<< I'm making this query for a friend. She is using gold leaf to highlight
some sculptural pieces, but finds it too glitzy. Is there a way to give it
a more antique look? >>
After it is applied you brush it with a brush. The more antique you want it
the rougher the bristles. I don't do this but a friend does it all the time
and the pieces are wonderful.
Wendy from Bainbridge Island, WA - where it''s finally raining!
Jeanette Harris on tue 27 aug 96
Autumn asked:
>She is using gold leaf to highlight
>some sculptural pieces, but finds it too glitzy. Is there a way to give it
>a more antique look?
-------------snip----------
It is my understanding that pigment can be added to the sealer to tone down
the look of the gold. The sealer is an acrylic similar to Verathane--as a
matter of fact, Verathane could be used. It comes in a satin finish too.
She might try adding small amounts of acrylic color, such as umber, indian
red, rust oxide, etc to see what kind of result she can get.
If I were doing it, I would take a scrap piece of leaf, fastening it down
on a flat surface with the adhesive, then segment it either by creasing it
or drawing lines. You can make a key chart that will tell you what
additives are used and keep it as a reference for further explorations.
Increasing the additive and layering might be interesting too.
Another traditional approach is to undercoat the surface before applying
the leaf--this will influence the look of the final product. Usual
undercoating is either black or a crimson red.
The kits are very inexpensive for the coverage you can get. I ordered one
from Daniel Smith in Seattle for less than 15 dollars. I have lined one
thrown bowl, medium sized, the flared and altered outter lips of two small
bowls, and a small vase. I guess I've used about half of the leaf. The
kit has about 25 sheets that are around 6" square. Instructions, leaf,
brushes, (I would suggest using a big, fat blusher make-up brush) adhesive
and sealer are included. (No connection with Daniel Smith, but it's a darn
good art supply store.)
Experiment and learn!
Cheers, Jeanette Harris
Denis Whitfield on tue 27 aug 96
>----------------------------Original message----------------------------
>I'm making this query for a friend. She is using gold leaf to highlight
>some sculptural pieces, but finds it too glitzy. Is there a way to give it
>a more antique look?
>
>If you aren't posting to clayart, you can send directly to her (Esther
>Tennenhouse) at this address: Ron_Klassen@mindlink.bc.ca
>
>Thanks. It's really great to have the collectve Clayart wisdom as a resource.
>
>Autumn Downey
>downeya@internorth.com
>Yellowknife, NWT, Canada
>
>
Autumn,
A recent student here was putting gold leaf onto figurative sculptural pices
and had the sam problem. It was successfully solved by subsequently burying
the work in sawdust and burning the sawdust down from the top. The results
were excellent.
I imagine that you would not need to have anything but inexpensive leaf - it
may in fact work best because it will probably tarnish more.
Denis
****************************************************************************
DR DENIS WHITFIELD
Senior Lecturer
Co Director, Centre for Ceramic Research, Design and Production
Department of Visual and Peforming Arts
University of Western Sydney, Macarthur
PO Box 555
CAMPBELLTOWN NSW 2560
AUSTRALIA
email: d.whitfield@uws.edu.au
phone: 02 97729345
****************************************************************************
Lyn Belisle on wed 28 aug 96
On Tue, 27 Aug 1996, Jonathan Kaplan wrote:
> >I'm making this query for a friend. She is using gold leaf to highlight
> >some sculptural pieces, but finds it too glitzy. Is there a way to give it
> >a more antique look?
>
> You might try some cool wax based pigments from American Art Clay in
> Indianapolis called "Rub 'n Buff. Cute product name, but fabulous stuff.
Rub 'n Buff is good -- you can control the degree of shine by how much
you buff it. Also, she might try the old trick of brown Kiwi shoe polish
over the gold leaf (of course, this is all decorative finish stuff).
Lyn in San Antonio
ktighe on wed 28 aug 96
There is an ersatz-bronze look that can be achieved with acrylic paints (or
probably with any paint for that matter). I use multiple, very-thin
coats of acrylic paint (artist's paint in tubes). Thinned with water these
coats of paint go something like this: orange, green, blue, brown. Yellow
and red can highlight. It becomes a crap shoot so I encourage anyone to
experiment on a bogus sculpture or a hunk of fired clay. Use a brush, use
your fingers. The process becomes very painterly. And, like a painting,
great things are possible. But you can crash and burn, so practice. Once
finished, a few coats of wax (Beacon Floor Wax, or neutral Kiwi shoe-polish
in a spit-shine) can be effective. Be advised this is for indoor pieces.
Aha.. bronze sculpture but the wax ain't lost.......
Jeanette Harris on wed 28 aug 96
>Caught your post re the gold leaf. Wondered if you would be good enough to
>send me a phone number, address, etc. for the Daniel Smith art supply store.
Hi, Dan,
I actually got a catalog today that had an even better deal on gold
leaf--it's the kind you apply using an adhesive and extremely thin sheets
of the metal.
Here's the info:
FLAX
P.O. Box 7216
San Francisco, CA 94120-7216
Toll Free No. is 1-888-FLAX ART
1-888-352-9278
FLAX Fax is 1-800-FLAX-123
It's exactly the same kit--and they offer Copper, Silver beside Gold for $12.50.
There is also an antique gold leafing kit for $16.00.
In additioin to that, there's liquid (16 oz. bottles) of copper, gold and
silver made from alloys.
Daniel Smith's number is: 206-223-9599. Request their catalog--it is a
good resourse.
Cheers,
Jeanette in Poulsbo WA
Suvira McDonald on sun 8 sep 96
Autumn,
Assuming the leaf is going on over a glaze, You will probably find the leaf
not-so-glitzy if the glaze is matt. Otherwise try underfiring or overfiring
the leaf.
Goodluck
Suvira McDonald
Ceramics Department
Southern Cross University
Lismore, N.S.W. Australia
Email: smcdon12@scu.edu.au
Leslie Ihde on thu 2 oct 97
I am just beginning to experiment with gold leaf on pottery. I have read
a few sources which describe firing the pot with gold leaf on it at a low
temperature, around 700 degrees. Peter Lane makes this reference and,
believe it or not, so does Bernard Leach. I haven't come across more
details. I was consdiering an experiment of laying the leaf on a glaze
which matures at cone 018 and firing. Does anyone have any experience
with this? I saw the Sheryl Williams artical in CM from '90 or '91, but
she evidently uses adhesive. Is there a way to lay the leaf on the
unfired glaze so that it won't move in the firing? I'd appreciate any
thoughts privately or on clayart, and I would be happy to share my
results.
Leslie
Vestal NY
Leslie Ihde on sun 18 jan 98
I promised a few months ago to publish my results with gold experiments
here after I had tried them. I have finally begun.
I found a nice gold size to use to apply the gold leaf. (Winsor and
Newton's Japan Gold Size). I paint this material onto a previously glazed
and fired pot in areas I want my gold. After about an hour, the areas are
tacky and I apply the leaf directly onto the size tow which it sticks. (I
do this very awkwardly with my fingers as I haven't mastered the gold leaf
brush.) I then tried the following:
1. fired to 018 without further treatment. The gold stayed, dulled
slightly but was vulnerable to the touch and seemed likely to come off.
2. fired to 04 under a clear glaze. Gold dissappeared.
I will be looking for an 018 clear to proctect the gold. Will try again
at 08 with a clear I have.
Any suggestions gratefully accepted.
Leslie
Vestal NY
Cindy on mon 19 jan 98
Leslie,
Sounds like a lot of work. Is there a reason you aren't simply using
prepared brush-on lusters? Assuming you succeed in getting the gold leaf to
work at all, it seems to me you may lose all the effect of using a leaf as
opposed to a luster in the firing process.
Cindy in Custer, SD
----------------------------Original message----------------------------
> I promised a few months ago to publish my results with gold experiments
> here after I had tried them. I have finally begun.
>
> I found a nice gold size to use to apply the gold leaf. (Winsor and
> Newton's Japan Gold Size). I paint this material onto a previously glazed
> and fired pot in areas I want my gold. After about an hour, the areas
are
> tacky and I apply the leaf directly onto the size tow which it sticks.
(I
> do this very awkwardly with my fingers as I haven't mastered the gold
leaf
> brush.) I then tried the following:
>
> 1. fired to 018 without further treatment. The gold stayed, dulled
> slightly but was vulnerable to the touch and seemed likely to come off.
>
> 2. fired to 04 under a clear glaze. Gold dissappeared.
>
> I will be looking for an 018 clear to proctect the gold. Will try again
> at 08 with a clear I have.
>
> Any suggestions gratefully accepted.
>
> Leslie
> Vestal NY
Leslie Ihde on tue 20 jan 98
Cindy- you ask why I don't just use gold luster-
Well actually gold leaf is cheaper if you want to cover a large area- at
$40 for 25 3" sheets, versus liquid gold. Real gold has a meaning of me,
and is wonderfully bright and lovely. With my final project I have in
mind, I want to cover the outside of a 20" functional bowl. Any thoughts?
Leslie
Tim Stowell on tue 20 jan 98
Why not use one of the commercially available Gold Overglazes? We used to
use them and although they smell bad and contain organic solvents (use
respirator) they worked really well. The two companies that made the ones
we used were Hanovia and Duncan.
Tim
Tim Stowell Gerard Stowell Pottery
Stacey Gerard 290 River Street
tstwll@juno.com Troy, NY 12180
(518)272-0983
BabsDeluxe on tue 20 jan 98
I use to apply goldleaf on and under a unfired cone 06 clear glaze . That was
with "real" gold leaf . Very pure . I all so used to apply gold leaf to a fired
clear glazer with a thined out white craft glue . Applying the glue to the
fired piece let sit till tacky and then put the gold leaf on then fired it to
018 cone . I hope this helps . My gold leaf i use is very old and may be of a
higher quality than available now . BabsDeluxe@aol.com
Leslie Ihde on wed 21 jan 98
Tim,
Thanks for your reply- I want reall gold for the unmistakeable beauty and
shine of it. Not to mention the meaning of gold- a substance pure through
and through with a remarkable inner shine. Me and the Aztecs share a
fetish.
Leslie
Gavin Stairs on wed 21 jan 98
Just a real obvious thing: make sure the "gold" leaf you are using is real
gold. There are base alloy "glod" leafs (leaves?) being sold for much less
than real gold. The imitation won't stand the heat.
Gavin
Gavin Stairs
Toronto, Canada
Tim Knapp on thu 22 jan 98
------------------
My two cents worth:
Back when I used to make props for film and theater, I used to finish most =
of my
gold/silver/copper leaf projects with a polyurethane sealer (this was for
non-food grade items). It provides a very tough outer layer and is =
available in
matt or glossy finishes (both spray and out of a can). You can find it in =
most
hardware stores (one of the brands is Verathane (spelling?).
I have seen drinking horns with leaf on them and they were sealed with a =
food
grade epoxy (I was told you could find from restaurant supply companies, =
though
I haven't done this myself yet). While I haven't done any leaf on my =
pots/cups
yet, I would apply the leaf after firing and then seal the piece .
Tim Knapp
Orange, CA
=3E=3E=3E Leslie Ihde =3Clihde=40binghamton.edu=3E 01/21 7:22 AM =3E=3E=3E
----------------------------Original message----------------------------
=3EYoure right, Janet, the leaf doesn't need to be fired. I'm experimenting
=3Eto fine a way to make the leaf durable. For appearance only, gold leaf
=3Eattached with size is fine. But you'll notice there are industrially
=3Eproduced cups with gold- I want to know how that is done since those =
items
=3Eare dishwasher safe.
=3ELeslie
Huck4u on sun 1 feb 98
Here is the gold leaf i used that worke on and under a unfired cone 06
commerical dinnerware safe glaze . (box is aged)
Swift Gold Leaf
23+K
3 3/8 x 3 3/8 XX Deep
Surface Gilding
from:
M. Swift & Sons Inc.
ten love lane
Hartford, Conn. 06101
Maybe someone from Hartford might see this and let us all know if their still
around ! This box was given to me by one of my former teachers . Hope this help
with the Gold Leaf questions ?
be safe & have fun ;-)
spring in Jan ? this must be Florida ! But wait till July bugs the size of
small cars with no freeze this year =}
Huck4u@aol.com
peacelovehopehealthhappinesshealingcurescaresconcernscommunityribbons and
condoms for those in need ! Your Huckleberry Friend , Huck4u@aol.com
Leslie Ihde on mon 2 feb 98
Thanks for your info on gold leaf. I found a great distributor of gold
leaf in NYC- Baggot Gold Leaf- run by Grace Baggot. Great prices- great
attitude. Very knowledgable and generous with that knowledge. Doesnt do
ceramics, but helpful none the less.
Leslie
Vestal NY
Leslie Ihde on tue 3 feb 98
Huck4-
Your gold leaf sounds like mine. Your 06 glaze- would you share the brand
or indicate ingredients? As I've mentioned before on this list, my gold
leaf dissappeared in some of my firings and I wondered if it was my glaze.
Did you use two thicknesses of gold leaf? Some people have mentioned
using thicker leaf. B
Boy, am I addicted to this gold stuff- I hope I don't get Midas's
punishment.
Leslie in
Vestal NY
SBRANFPOTS@aol.com on thu 17 sep 98
Friends,
An individual contacted me looking for information on applying gold leaf to
ceramics. I haven't a clue! If anyone out there has experience with this
could you please contact Roger Cramer <> directly?
Thanks
Steven Branfman
SBRANFPOTS@aol.com on thu 17 sep 98
Friends,
I posted the following but gave the e mail address incorrectly. Here is the
post again with the correct address:
"An individual contacted me looking for information on applying gold leaf to
ceramics. I haven't a clue! If anyone out there has experience with this
could you please contact Roger Cramer <> directly?"
Thanks
Steven Branfman
Marie Gibbons on sun 26 jan 03
I am working on a series of very ornate figurative pieces, and am using 23k
gold leaf on detail areas of the piece, I am so happy with how it looks, the
gold is beautiful.
my question to anyone who has had some experience with this, must i put a
sealant over the gold leaf? I am avoiding doing so as I am afraid it will
change the glow of the gold, the pieces are sculptural, non functional,
strictly objects of desire (i hope)
any info would be greatly appreciated!
marie gibbons
www.oooladies.com
Russel Fouts on mon 27 jan 03
Marie
>> I am working on a series of very ornate figurative pieces, and am using 23k gold leaf on detail areas of the piece, I am so happy with how it looks, the gold is beautiful. my question to anyone who has had some experience with this, must i put a sealant over the gold leaf? I am avoiding doing so as I am afraid it will change the glow of the gold, the pieces are sculptural, non functional, strictly objects of desire (i hope) any info would be greatly appreciated! <<
I don't think you need to put anything on it, and anything you put on it
will change the look. My understanding is that when you need to use gold
leaf outdoors, you use 23K and you don't put anything on it. That's
going to be a lot harsher environment than any of your scultures will
have to endure.
BTW, I was playing around with 23k gold leaf on a piece at Enzo's. I
accidentally got lots of flakes all over his dinng room table. They
stuck, I left'em, looks GREAT!
Russel
-----------------------------
--
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
Home of "The Potters Portal"
Over 1800 Pottery Links!
Updated frequently
"Is the Hokey Pokey really what it's all about?"
Dan Bowen on mon 27 jan 03
On Sun, 26 Jan 2003 15:17:54 EST, Marie Gibbons wrote:
>I am working on a series of very ornate figurative pieces, and am using 23k
>gold leaf on detail areas of the piece, I am so happy with how it looks, the
>gold is beautiful.
>__________________________________________________________
>
You do not need to seal if it is realy 23k. just wipe it gently with a
silk cloth. The imatation gold (dutch metal), silver and copper does
require sealing if you don't want tarnish.
Dan Bowen
Weirwood Station Pottery
Eastern Shore of Virginia
Snail Scott on mon 27 jan 03
At 03:17 PM 1/26/03 EST, you wrote:
>...must i put a
>sealant over the gold leaf? I am avoiding doing so as I am afraid it will
>change the glow of the gold...
Lacquer and similar coatings will not change the
'glow', but it will change the surface sheen.
This can sometimes be a nice effect, actually
deepening the look of the gold, and also protecting
it against damage and wear. Some lacquers can
yellow over time, but over gold it's not really
a problem.
-Snail
marci Boskie's Mama =3D^..^=3D on sun 22 jan 12
Everyone who talks about gold leaf in relation to pots talks about
post firing cold application .. .but it is possible to fire gold leaf.
You can follow any of the directions already presented for
gilding... but first, fire on a thin coat of either chinapaint ( any
color will do .. but an iron based red is especially nice ) or
chinapainting flux ( which is a powdered flux that is mixed with oil
like chinapaint , applied in a thin coat with a brush and fired to
anywhere from cone 018 ( approximately 1320 F / 715 C ) to cone 015
( approximately 1480 F / 800 C ).
Then follow the directions for gilding . After gilding, fire to
any china painting temp ( anywhere from 018 to 015 ) ...
This will work on a glazed surface or an unglazed but vitrified surface.
As to why bother to fire it: it is more durable.It will give you
a better mechanical bond although , since none of the golds form a
glassy layer like chinapaints do which fuses the color to the glaze
when fired, it is still possible to rub it off .. but it takes a lot
more effort .
marci the chinapainter
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