Mason Stains Sample Set #1 for enamel artists have 10 colors include 6001 Alpine Rose. 6028 Orange, 6126 Hazelnut Brown, 6201 Celadon Green, 6263 Victoria Green, 6306 Vivid Blue, 6315 Zirconium Blue 6339 Royal Blue & 6410 Canary Yellow.
Mason Stains Sample Mixing Set for enamel artists. Ten colors include 6021 dark red, 6027 tangerine, 6028 orange, 6030 mango, 6108 Walnut, 6206 grass green, 6339 royal blue, 6410 canary, 6657 black, 6768 tin white

PLEASE READ/NOTE: These Mason Stains are packaged for use by enamel artists who use them in very small quantities - 1 teaspoon or 3.35 grams per jar. They are NOT quantities that ceramic artists would normally need.

Each jar contains 1 teaspoon of a pure mason stain powdered color which will last the average enamellist a long time! The quantities sold are intended to be used by enamel artists.

Also available at http://www.enamel-warehouse.com .

Mix with a small amount of water, gum agar, or KlyrFire. Even a pump hairspray will do!

Also available is a Mason Stain Set #2 and a separate set of five colors not contained in Set #1 or Set # 2.

http://www.enamel-warehouse.com/



I now carry every opaque & transparent enamel in Thompson's 1000 and 2000 series for copper, silver, gold, steel, and iron, enameling supplies, copper, stamped copper shapes, iron beads, torch firing beads, and bead-making supplies.

I carry them ALL Thompson 1000 & 2000 series enamels in 2 and 8 ounce sizes .

Info from Thompson (Tom Ellis):

Mason Stains are very much like Thompson’s Ceramic Pigments. Ceramic Pigments are used to make many of Thompson Enamel products. The breakdown of our painting products start with the ‘Ceramic Pigments’ – these are mineral pigments that are colorants. They do not contain glass but will ‘stain’ the glass (OC series).

Enamel Warehouse sells different sets of Mason Stain colors.

The Thompson Painting Enamel Kit (PK-1) which contains quantities of ceramic pigments (could be replace with Mason Stains) and also two types of glass that the ceramic pigments can be mixed with to make a glossing painting enamel. This kit is popular with people making miniature painted enamels.

We have crayons (EMC and PEMC) which are the pigments (could be Mason Stains) mixed with a water soluble wax. These do not contain glass so may need to be covered with a transparent clear (2008).

We have Overglaze Painting Colors (900E series). These are painting enamels where we have mixed the ceramic pigments (again, could be replaced with Mason Stains) with a glass so that this product will gloss when fired. They come in dry powder where you pick a painting medium to mix them with.

So – Mason Stains are not necessarily a product unto themselves, but can be used to make many other products, but can be used alone as well.

If the stains are applied thin enough to an enamel surface, the stains will be dispersed into the underlying enamel and appear to have gloss.

If the stains are applied too thickly, they will mat upon firing.

If a gloss is desired and a mat firing is what you get after firing, you can apply and fire a clear coat to bring about gloss.

After the first firing, scrub off any excess Mason Stains and fire a light coat of clear such as 2030 medium fusing clear.

The enamel in the clear coat application has to be sized to a specific particle size for transparency, even coat and good gloss. I like to use 2008 clear for top coat. A top coat is an option if one wants a look of depth into the painting, to give gloss to Ceramic Pigment or Mason Stain applications or to top off a cloisonné cell. A top coat is best processed with stackable screens using 80 mesh material sized to 150/325 mesh before applying to the piece. It is possible that an 80 mesh top coat can ruin the work by creating white specks, dimples and cloudiness over the painting or cloison. Once its fired on, it cannot be taken off.

For a top coat, use 2020 on silver, and/or 2008 on copper or on pre-enameled steel tiles. Both enamels (2020 and 2008) should be sized to 150 mesh over 325 mesh or 150/325 mesh. This is accomplished with two solid stackables, a 150 mesh stackable screen and a 325 mesh stackable screen. The 325 screen is stacked on top of one of the solid screens and a quarter is dropped into the screen, the 150 mesh screen is nested into the 325 mesh screen and again a quarter is dropped into the screen – as you shake the quarters will keep the screen openings open. 1 oz. of 80 mesh enamel is placed into the 150 mesh screen and a solid is placed on top. Shake this sandwich for a couple minutes. You are removing the finest particles for better transparency (which collect in the bottom pan) and the largest particles so that you can apply a thin coat (which collect on top of the 150 mesh screen). The material you want to use is what stays on top of the 325 mesh screen. Use an empty 150 mesh screen to sift this material (150/325 mesh) onto your piece or to wet pack this material into a cloison. If sifting, cover only to the point that you can still see the image through a light sifted coat.