Light Gold

MBG172

⬛ Black Level♥ Studio favorite

Light Gold is a satin brush-on glaze from Coyote's Constellation line, fired cone 5 to cone 6.

SatinOpaqueCone 5/6
Available at The Clay HoleYes
Test tile
Fired pot
Constellation family
Find it on the glazes shelves Shelf 2, Row 10
Show me where

The quick version of Light Gold

TypeBrush-on glaze
FinishSatin
OpacityOpaque
Shows textureNot especially
Glaze fire toCone 5/6
Bisque toCone 04

What this glaze does

A variegated glaze with brown, orange, blue, and golden tones. Developed as an alternative to Red Gold for people who have problems using that glaze.

Coyote describe these as the first line designed to shine in both a regular firing and a slow cool. Thickness, temperature and especially cooling speed all move them, so they are never the same twice.

Clays that suit Light Gold

The Constellations get their character from the firing more than from the clay.

The Constellations get their character from the firing more than from the clay.

Any body worksEverything from #16 Porcelain to Berlin Gray will carry them.
Light bodies#16 Porcelain, B-Mix and Half & Half read closest to Coyote's own tiles.
The real variableCoyote say cooling speed affects these more than anything else, so the kiln schedule matters more here than your clay choice does.
Worth knowingCoyote say crystals can form in the liquid glaze if it is stored below 65F.
Blocks of clay in the studio at The Clay Hole The complete guide to clay bodies What each body is made of and how it behaves under a glaze. The clay bodies we stock at The Clay Hole The clays we carry Every body on our shelf, with bag sizes and prices.

Applying this glaze to your work

Thickness matters, and so does the firing. Coyote name cooling speed as the biggest single influence on this line.

That means a Constellation glaze is a different pot out of a slow cool than out of a normal one, and both are intended.

Across the Constellation line

Thickness matters, and so does the firing. Coyote name cooling speed as the biggest single influence on this line.

That means a Constellation glaze is a different pot out of a slow cool than out of a normal one, and both are intended.

Layering

These are built to carry a pot on their own. The variation comes from the firing rather than from what you put under them.

Before you commit a pot

These are built to carry a pot on their own. The variation comes from the firing rather than from what you put under them.

From The Clay Hole University

More info about Light Gold below, but first... Everything we teach about glazing, written down and taught properly. These are the glaze lessons, and they are a small corner of a library that runs from centering your first pot to selling your work.

Glaze Brushing Techniques, Coat by Coat GuideGlaze Brushing Techniques, Coat by Coat Glazing Big and Intricate Pottery Faster GuideGlazing Big and Intricate Pottery Faster Getting the Most Out of the Mega Glaze Tool GuideGetting the Most Out of the Mega Glaze Tool Making, Logging and Dialing in Test Tiles GuideMaking, Logging and Dialing in Test Tiles Glaze Problems, Causes and Fixes GuideGlaze Problems, Causes and Fixes Glazing on the Wheel for Even Coats and Clean Bands GuideGlazing on the Wheel for Even Coats and Clean Bands Bubble Glaze with Dish Soap GuideBubble Glaze with Dish Soap Mixing Your Own Glazes: What It Actually Involves GuideMixing Your Own Glazes: What It Actually Involves Making a Glaze Catcher GuideMaking a Glaze Catcher Oxide and Carbonate Washes GuideOxide and Carbonate Washes When to Use Celadon Glazes GuideWhen to Use Celadon Glazes How to Use Dipping Glazes GuideHow to Use Dipping Glazes How to Use Underglaze: Techniques, Rules and Firing UnderglazeHow to Use Underglaze: Techniques, Rules and Firing Mishima: How to Inlay Slip and Underglaze into Carved Lines UnderglazeMishima: How to Inlay Slip and Underglaze into Carved Lines Wipe-Away Texture: Underglaze and Oxide Washes on Bisque UnderglazeWipe-Away Texture: Underglaze and Oxide Washes on Bisque
Browse all 170+ lessons and guides

Firing Light Gold

Coyote fire these between witness cone 5 and witness cone 6, which is where our glaze kilns run.

If you are a member here

None of this is yours to manage. We handle everything on the kiln side, and every glaze on our shelves can be fired safely in our studio.

Food and function

Coyote have their recipes reviewed by an independent toxicologist and none of them use lead. They ask that you test your own finished ware for food safety.

Across the Constellation line

Coyote have their recipes reviewed by an independent toxicologist and none of them use lead. They ask that you test your own finished ware for food safety.

Test tile pots lined up on the glaze shelves at The Clay Hole

Our test tile pots

Every glaze family on our shelves has its own test tile pot, and it is the fastest way to decide what to put on a piece. It is a fired pot wearing the whole family, one numbered tile per glaze, on a surface built to show you what that glaze actually does rather than just what color it is.

  1. 1Find the pot The brand and family name are written on the rim. This glaze lives on the Coyote Constellation pot.
  2. 2Find the tile Tiles are numbered around the pot. The numbers match the ones in the Glaze Bible.
  3. 3Read it properly Look at what the glaze does across all four textures, not just what color it is.

What to look at on the tile

Broad vertical textureA broad open surface. Shows the color at full strength, and whether the glaze travels down it.
Shallow textureA shallow swirl stamp. Shows whether light carving still reads once the glaze is on, or fills in and vanishes.
Deep textureCut lines. A deeply rough texture stripe. Shows where the glaze pools, how it breaks, and how dark it goes in the recesses.
Wipe-away textureGlaze wiped back to bare clay. Shows what the edge does where the coat runs thin. Find this wiped away on the tile's number.
One trick worth knowing

Some glazes tell you loudly that they run. Others hide it. Look at how the brushed lines fired: crisp edges mean a stable glaze, and edges that went soft and fluid mean it moved, and it will move on your pot too.

About the Coyote Constellation Family

Eight glazes built to do something interesting whether the kiln cools fast or slow.

Coyote say thickness, firing temperature and especially cooling speed all change these, which means they are never quite the same twice. That is the design rather than a fault.

Eight glazes, fired between witness cone 5 and witness cone 6. Coyote call this the first line designed to shine in both regular and slow-cooled firings. Several develop crystals when the cooling is slow enough, which is where the name comes from.

All Constellation glazesAll Coyote glazes
Constellation family

More ways to pick a glaze

The Mega Glaze Tool Every glaze we carry, filtered by level, color, sheen and more. The Glaze Finder Type a name and see exactly where it sits on our wall. Clay Hole University Glazing lessons, from brushing to dipping to layering. Download the Glaze Bible PDF The whole printed Bible, in one file.

Membership levels that may use this glaze: Black

Not sure whether this glaze suits what you are making, or how it works with our system here? Ask an instructor. That is what we are here for, and a two minute conversation at the shelf beats a fired pot you did not want.

How membership levels work Back to the Glaze Bible
About these images and what your pot will actually look like

We have done our best to represent every glaze here accurately, and you should still expect your pot to look different from what is on this screen.

Our glaze tile images are digitally created. They are built to show the character of a glaze, not to be a color match.

A screen is not a printout, a printout is not a test tile, and a test tile is not a finished pot. Each step in that chain shifts what a glaze looks like, sometimes a lot.

On top of that, the pottery itself changes the result: the clay body, how thick the glaze went on, whether it was brushed, dipped or sprayed, what was layered under or over it, where the piece sat in the kiln, how hot that spot ran, how fast it cooled, what was fired next to it, and how much texture the surface had. Two pots glazed from the same jar on the same day can come out different.

Treat every image here as a starting point, and treat a test tile fired on your own clay as the real answer.

Download the Glaze Bible PDF