A brush used for gold should be used for that purpose only. Use
turpentine or oil of lavender for moistening the brush—and after it has
been rubbed well into the paste the latter will turn a thick brown
color. Pour a very little turpentine on the paste if it is too dry and
work well with a palette knife. A drop of liquid bright gold will
soften Roman gold quickly. Don’t use turpentine if you use liquid gold.
Another way (although perhaps not quite as good a way) to soften gold
quickly is to warm it over a flame, then add a little turpentine. The
objection to this process is, that after it has cooled it is harder—and
the results are not as satisfactory.
We find in gold work, it is safe to use liquid bright gold for the
first firing and Roman gold for the second. Liquid bright makes a good
foundation for Roman gold and makes a good wearing combination. It is
not well to use unfluxed gold on hard china as it rubs off very easily.
Roman gold is used for this china and hard or unfluxed gold on the
softer wares, such as Belleek.
Gold requires a medium firing—and when practical it should be applied
in the last two firings. If an article that is decorated with gold
requires refiring on account of some defect in the other decorations,
the gold will need to be gone over again or you may have to give the
piece an extra firing for the gold.
If gold is overfired it will fade white; on the other hand, if it is
underfired it will rub off in burnishing.
It is very necessary to remember one thing in burnishing gold. If any
of the glass fibers are allowed to remain on the decoration when the
article is undergoing a second firing, they will eat the colors, and
the work will be nearly if not quite spoiled.
It is unwise to burnish an article near where you are working, as the
particles get into the colors and act the same when the colors are
fired.
Wash each article after burnishing. After each firing of an article,
burnish the gold, for handling, or moisture from the hands, or dust are
sure to show. Lustres are applied after the gold is burnished.
There are many reasons for gold looking dirty. Sometimes it is due to
the china being dusty. Maybe the brushes were not clean or a poor
quality of turpentine was used. Gold will not stand too much mixing,
consequently it is well to have only the amount needed on the slab.
After the student has had some experience in handling gold, he will
probably be able to apply it over unfired paste. The paste, however,
must be absolutely dry. But the safest way to obtain the best results
is to fire the paste first. Care should be taken not to apply the gold
too thick or it will blister and peel off.
If liquid bright gold is used with Roman gold use no turpentine. In
fact never use turpentine with liquid bright gold.
When it is found necessary to remove fired gold, it can be done with
liquid china eraser.
Gold can be applied very evenly to the edges of round articles with the
tip of the finger.
After silver has been fired, gold can be applied and vice versa, as one
metal acts as a foundation for the other.
Mix one part of silver with two parts of unfluxed gold and you have
green gold. For platinum effects mix liquid bright silver with Roman
gold.
Nothing but unfluxed gold should be used with Belleek ware.
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