Red Gold

MBG031

🟪 Purple LevelUp-charge

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

SatinTranslucentCone 5/6
Available at The Clay HoleYes
Test tile
Fired pot
Archie's family
Find it on the glazes shelves Shelf 2, Row 1Tile #5 on the Archie's pot
Show me where

The quick version of Red Gold

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

What this glaze does

One of our most beautiful and pop ular glazes. Red Gold is a golden cream color with streaks of reddish brown. Depending on the thickness and firing, it can achieve a wide range of colors and finishes, sometimes including blue crystals. It can be very runny.

Coyote is unusually blunt about this line: it can be challenging to use, and it rewards skill. These glazes flow and interact with other colors dramatically, and slow cooling changes them again.

Clays that suit Red Gold

Coyote notes that the Archie's may not fit all clay bodies, and asks you to test for shivering.

Test firstThis is the one family on our shelf where the maker asks for a test tile before you commit a pot. Shivering is a fit problem between glaze and clay, and it is worth ten minutes to rule out.
Any body, with a checkWe stock #16 Porcelain, B-Mix, Half & Half, 52 Buff, Speckled Buff and Berlin Gray. Try your combination on a tile before a large piece.
On textureThese flow, so they pool in carving and thin on the ridges without any help from you.
Worth knowingCoyote says 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

These move. Coyote describes them as flowing and interacting with other colors, which is the point and also the risk. Keep them up off the foot and think about what is underneath before you brush.

Slow cooling affects this line strongly, so the same glaze out of a different firing is a different pot.

Across the Archie's line

These move. Coyote describes them as flowing and interacting with other colors, which is the point and also the risk. Keep them up off the foot and think about what is underneath before you brush.

Slow cooling affects this line strongly, so the same glaze out of a different firing is a different pot.

Layering

This is the line Coyote built to interact. Their Gloss series is recommended under the Archie's, and several of the Satins are recommended under them too.

Before you commit a pot

This is the line Coyote built to interact. Their Gloss series is recommended under the Archie's, and several of the Satins are recommended under them too.

From The Clay Hole University

More info about Red 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 Red Gold

Coyote fires 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.

Common problems with Red Gold

Why did my glaze end up on the kiln shelf?

These flow. Coyote describes them as flowing and interacting with other colors, so keep them well up off the foot.

Why does the same glaze look different every time?

Coyote says slow cooling affects this line strongly. The same jar out of a different firing is a different pot.

Why is my glaze flaking off the pot?

That is shivering. Coyote notes the Archie's may not fit all clay bodies and asks you to test for it, so run a tile on your clay first.

Why does the jar look crystallized?

Coyote says crystals can form in the liquid glaze if it is stored below 65F.

Food and function

Coyote warns that the Archie's may not fit all clay bodies and asks you to test for shivering on your clay. Shivering is the glaze flaking off under tension, and it is the one glaze fault that makes a pot genuinely unsafe to use.

They have all their recipes reviewed by an independent toxicologist and none use lead. Test your own finished ware.

Across the Archie's line

Coyote warns that the Archie's may not fit all clay bodies and asks you to test for shivering on your clay. Shivering is the glaze flaking off under tension, and it is the one glaze fault that makes a pot genuinely unsafe to use.

They have all their recipes reviewed by an independent toxicologist and none use lead. Test your own finished ware.

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 Archie's pot.
  2. 2Find the tile This one is tile #5. 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 Archie's Family

The difficult, spectacular end of the Coyote shelf. These flow, react with whatever is underneath, and change again depending on how the kiln cools.

Coyote describes the series as challenging to use and says it rewards skill, which is a fair warning and a fair promise.

Eleven glazes, fired between witness cone 5 and witness cone 6. Coyote says these create finishes unlike anything else possible in an electric kiln, and that they are strongly affected by slow cooling. They also ask you to test for shivering on your clay, which is worth doing before a pot you care about.

All Archie's glazesAll Coyote glazes
Archie's 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 PDF The whole printed Bible, in one file.

Membership levels that may use this glaze: Purple & Black (extra up-charge required)

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 PDF