The same kit and the same technique mend glass, porcelain and stoneware, but the material changes three things: how much adhesive the broken edge takes, how carefully you have to handle the pieces, and how the finished gold seam reads. Fine porcelain gives you a narrow, crisp edge and a delicate line. Heavy stoneware gives you a wide edge, a thirstier join and a bold rustic vein. Glass gives you the trickiest handling of the three and a seam that behaves differently again, because you can see through the object either side of it.
Here is what to expect from each, plus wood and metal, which the kit also handles.
Porcelain and bone china
Porcelain is the easiest material to get a beautiful result on. It is fired hard and dense, so it tends to break along clean, sharp lines rather than crumbling, and the pieces go back together with a precision that flatters your first attempt. The walls are thin, which means the broken edge is a narrow ribbon and takes very little adhesive, so a teacup or a side plate is a modest project even if it is in several pieces.
The white or near white body is also the best possible background for gold. A fine seam on white porcelain has all the contrast it needs and does not require a bold vein to be seen, so spread thinly and let the material do the work. Two cautions: thin porcelain edges are genuinely sharp, and a thin wall gives you very little surface area to bond, so the hold of 30 to 60 seconds on each join matters more here than anywhere else. Bone china behaves much the same, with an even thinner wall and a slight translucency that makes a gold line look as though it is floating.
Stoneware and earthenware
Stoneware is the everyday pottery of most British kitchens: mugs with a bit of weight to them, rustic bowls, handmade pieces from a market. It is thicker and softer than porcelain, so expect a wider broken edge and more adhesive per centimetre of crack, and expect a few crumbs along the break line where the body has chipped rather than cleaved.
That is not a problem, it is a different look. A wide edge naturally gives a broader gold vein, which suits a chunky rustic piece far better than a hairline would. Brush loose crumbs away and make sure the edge is clean and completely dry before you spread anything, since a dusty edge is the commonest cause of a weak join.
Earthenware and terracotta are softer and more porous again, and unglazed areas will drink a little adhesive into the body. Work on the principle of a thin even layer pressed firmly home, and give it a proper full cure before you handle the piece. If a garden pot is what is broken, remember that the repair is not waterproof, so it is not going to like being left out in the rain or watered through.
Glass
Glass works, with two real caveats that are worth taking seriously before you start.
The first is safety. Broken glass produces slivers and edges that are far more dangerous than broken pottery, and they are hard to see against a work surface. Wear the gloves that come in our kintsugi kit, lay the pieces out on a light coloured towel where you can see them, sweep the area properly afterwards and do not rush the handling.
The second is the look. Most glass is transparent, so the gold seam reads very differently than it does on opaque ceramic: you see the line and the edge of the adhesive through the body of the glass rather than sitting on a solid surface, and the effect can be striking or muddy depending on the piece. Coloured or frosted glass tends to look better than clear. Either way, plan the whole reassembly dry before you glue, because glass gives you no forgiveness on alignment, and any adhesive that squeezes out shows through from both sides. Wipe excess away promptly with the spreader while it is still soft.
Wood and metal
The kit is not limited to things that came out of a kiln. A wooden trinket box with a split lid, a carved ornament, a metal picture frame or a small brass object all take the same two part epoxy and the same gold effect mica pigment.
Wood is porous and the grain will absorb a little adhesive, so a thin coat pressed firmly is again the answer, and a broken wooden edge often has fibres standing proud that are best pressed back into place rather than trimmed away. Metal needs a genuinely clean, grease free surface more than any other material, since even a fingerprint is a barrier. On both, the gold vein looks less like a traditional kintsugi seam and more like an inlay, which is a handsome thing in its own right.
What stays the same whatever the material?
The method does not change. Mix equal amounts of part A and part B thoroughly on the mixing card, spread a thin even layer along a clean, dry edge, press the pieces together and hold each join for 30 to 60 seconds, then leave it undisturbed to cure fully. No kiln, no oven, no heat at any stage. Once the seam has set, brush the gold effect mica pigment along it while it is still slightly tacky, or lay a fine extra line of adhesive first and gild that.
The limits do not change either. Whatever you have mended, the adhesive is not food grade, so the piece is now decorative rather than something to eat or drink from, and it should be dusted or wiped gently by hand rather than sent through the dishwasher. It is an adults only kit: ventilate the room, keep the gloves on and keep it away from children. And the two practice bowls in the box exist so that you can learn how a material behaves before you commit to the piece you actually care about.
Kintsugi by material FAQs
Can you do kintsugi on glass?
Yes, with care. Glass shards are sharp and hard to see, so wear the gloves and lay the pieces on a light towel, and remember that a gold seam reads differently through a transparent body than it does on opaque pottery.
Which material gives the best looking result?
Porcelain and bone china, for most people. They break cleanly, need very little adhesive and give a pale background that shows a fine gold line beautifully.
Does stoneware use more adhesive than porcelain?
It does, because the walls are thicker and the broken edge is much wider. The upside is a naturally bolder gold vein, which suits chunky rustic pottery.
Can I repair a terracotta plant pot?
You can join it, but treat it as decorative afterwards. The repair is not watertight and it is not meant to hold water, so do not water through it or leave it outside in the weather.
Will the kit work on wood or metal?
Yes, both. Wood absorbs a little adhesive into the grain, and metal needs a scrupulously clean, grease free surface, but the mixing, spreading and gilding are identical to pottery.
Should I practise on the material I am repairing?
Ideally, yes. The kit includes two practice bowls for technique, and if you are tackling glass or metal it is worth a trial join on a scrap of the same material first.
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