Here are some photos from one of the porcelain painting demonstrations I'll be doing in Sydney at the APAT Convention in October (more info coming soon!)  These are lustre roses in a watercolour technique, and the final firing is using burnishing gold.
Lustre roses on porcelain demonstration by Ingrid Lee

Lustre roses on porcelain demonstration by Ingrid Lee

If you are interested in attending, please message me here .
Here is a close up of the unfired pen work with liquid burnishing gold
unfired gold on porcelain by Ingrid Lee
Some liquid burnishing gold can be a dark reddish brown colour as shown in the photo above, or it can be a really dark black brown as shown in the photo below
unfired gold work on porcelain by Ingrid Lee
For all of my porcelain work, I prefer to use burnishing gold, but which gold is best?  I thought I'd share a little info about this.  Of course everyone has their own methods and preferences about gold, but these are my experiences I'm sharing.
I prefer to use burnishing gold because of the warm glow it offers- it's not bright and lustrous like liquid bright gold, and compliments the designs I create.  The liquid bright gold which I use has 12% gold content and is a lustre, it gives that shiny brassy look which is great for some effects, and is cheaper than liquid burnishing gold.  Sometimes I do use liquid bright gold, but it's for specific effects (I describe my use of liquid bright gold on this painting).  Liquid burnishing gold is 30% and  must be burnished or polished after firing to make the gold an even warm glow, this is done with a damp cotton wool ball and burnishing sand.
Overall, it's always important to know what percentage of gold you are buying.  The higher the percentage of gold, the better...but not all suppliers list the percentage on the bottle.  So this can make it hard to know what's best- price isn't always the best indicator either, if the percentage isn't on the bottle.  The gold I use is from a highly reputable German manufacturer, and I prefer to source my supplies as direct from the factory as I can.  Since owning my first company and retail art shop and gallery at 23, I learned a lot about purchasing at wholesale prices for reselling, and organising my materials expenditure in relation to the profits, marketability and affordability of the item I am creating.  But my company is different now in many ways, I don't work as a reseller of products anymore, however, I still purchase materials for my own art work as a professional artist, you can see more about this here (Yes this is the first little plug about my new website 😉 I haven't been painting so much as I've spent the past few months creating, designing and writing my new website...this takes time to do).
But back to gold 🙂
I have always advised my students to plan why they are using gold- is it for embellishment? extension of an idea? to draw focus to something on you design? to replicate a certain style?  These are important thinking strategies when planning your art work, as it will help you decide on which gold is best, and then you'll know how much gold you need to purchase.  I tend to do all my gold work at one time so that the gold in the bottle stays 'fresh.'  I clean my burnishing gold brushes in gold thinning oil and then once the solution separates to a large amount of solute at the bottom of the jar, I remix it and I use this as a paint finish- not a as a gold substitute, but it creates some interesting colours for landscapes in modern lustre techniques.
Which gold is best for you?  Let me know here in the comments.  If you have any questions about the demonstration or seminars in lustre painting please ask below 🙂

 

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