A Gilder's Journal...

The Big Man Arrives: Peace Man Stops by for Seattle Opening

noreply@blogger.com (Charles Douglas) — Thu, 05 Nov 2009 11:48:00 +0000

The parcel water gilded, contemporary wood sculpture, otherwise known as Peace Man, made his debut at the Wright Exhibition Gallery in Seattle October 10, 2009. During the private opening party, Peace Man opened up his heart to be gilded in 22 kt gold leaf by a variety of exhibiting artists and guests secretly hoping to lay a little leaf. In exchange they became part of an interactive social experience where the art of gilding was simply the vehicle for human interaction. Extending the idea, I managed to gild the fingernails of a number of innocently surrendered hands, offering this somewhat formal gathering a slight twist, adding support to the idea that some things are ok if everyone else is doing it.

The concept of Peace Man began when I was approached by friend and colleague Paul Conrad to join him in a collaboration for this particular show presenting the work of a large number of Seattle-area artists who have been associated with Artech Fine Art Services throughout its long arts-related history. Paul's idea was to create a sculpture that could be gilded. Since anything can be gilded, options were pretty wide open.

Once Paul created the skeleton we knew he needed a name since we could see he was beginning to come to life. We named him Peace Man. A response of sorts to the state of the world at the moment. Our way of interjecting something positive. It seemed the name that he wanted so we let it be and the finish was ready to follow. Taking a somewhat improvisational approach, we applied over the entire surface a traditional gesso consisting of a 10% rabbit skin glue solution, calcium carbonate, and water. This served to seal the surface and to allow later burnishing of the gold leaf. To add character, Paul created texture in the gesso by using a stipple technique and Pastiglia, a method of applying thick deposits of gesso for a raised gilding look. As the texture was purposefully rough only minimal sanding would be needed.

A red clay bole, mixed with the same 10% rabbit skin solution, was applied over the gesso, concentrating on the areas we knew we would be gilding since the idea was to use a 'parcel gilded' method, where we would apply gold leaf only to certain sections along Peace Man's body. Once the clay was applied it was polished by hand to smooth the ground, followed by the laying of gold leaf. In keeping with the International feel of our project I chose leaf from a variety of countries: England, Italy, China, France, and Germany in both 22 and 23k.

The leaf was burnished with an agate stone and shellaced for protection. The entire sculpture was then painted with black casein which was removed from the tops of the water gilded areas, allowing the gold to give the impression of coming through the black. We then mixed our own paint comprised simply of blonde dewaxed shellac and French Ultramarine Blue and Mars Violet pigments which covered all the areas as a glaze over the black casein, surrounding the bright, burnished water gilding. The heart, painted in red acrylic gesso atop Japanese Unryu paper adhered to a wire mesh screen, was given a coat of acrylic emulsion at the opening party which allowed for quick gilding by participants, resulting in a heart of gold.

Adjusting to his new life, Peace Man has asked to venture forth into the world, inspiring conversation and the touching of hands. How can we say no?

The Gilding of a Wooden Sculpture

noreply@blogger.com (Charles Douglas) — Wed, 07 Oct 2009 23:17:00 +0000

A gallery opening this week will be including an oil gilded silver leafed frame I did for a painting of Napolean by friend and colleague Paul Conrad (Napolean looks suspiciously like Paul himself, but that's another story). The show this weekend will also be presenting a recent sculpture that Paul and I collaborated on, a wood statue of sorts which we call Peace Man.

The statue is about 4 feet tall and was covered with pastiglia, a method of dripping gesso on to a surface to create raised areas that can then be water gilded. After Paul drooled this dripping gesso all over the surface we let it dry until we could cover those sections with red clay bole.

After the bole dried, I gilded each of these sections with various layers of gold leaf: 22.9k from France, 23k from China, 23k from Italy, 23k from England, and 22k from the US, representing some element of world cooperation. I would have liked to have used leaf from other countries as well but in this modern world, deadlines exist. But hopefully the germ of the idea will come through somehow.

Once the leaf was laid, it was burnished and then shellaced for protection. A black casein was then flowed over the entire sculpture, including the gold leaf, the reason for the protective shellac layer. The water soluable casein was then removed, revealing the bright gold leaf underneath. Once again, clear shellac, which I make from shellac flakes and ethyl alcohol, was coated over the casein to seal it.

For additional complexity, Paul and I sprinkled Mars Violet and French Ultramarine Blue pigment over the blackened surface which became a flurry of color as it was mixed with a final brushed-on coat of shellac.

The result: Peace Man

Louis XIV: The man and the King...Exhibition at Chateau de Versailles

noreply@blogger.com (Charles Douglas) — Tue, 22 Sep 2009 23:34:00 +0000

A first-time major exhibition dedicated to Louis XIV, the Sun King, to be shown at the Palace of Versailles October 20, 2009 to February 7, 2010. It is during the reign of Louis XIV that the practice of gold leaf gilding, most noteably water gilding, was refined to its most exquisite level. It is the period that many gilders and those who appreciate the gilding arts today refer to as the pinnacle of gilding, a place in time to aspire to.

For further reading concerning this exhibition and amazing period in both French and gilding history, visit the Chateau de Versailles website.

Upcoming Fall Traditional Water Gilding Workshop in Seattle: November 6, 7, 8, 2009. Visit www.gildingstudio.com for details and Registration.

noreply@blogger.com (Charles Douglas) — Sat, 12 Sep 2009 21:26:00 +0000

Gold Leaf Gilding Workshop

November 6, 7, 8, 2009
Washington State Convention Center

An Introduction to Traditional Water Gilding

This popular intensive workshop has been expanded to a 3-day course of study, introducing the student to the traditional method of water gilding. Students are guided through each of the steps including preparation of gesso and clay bole grounds, laying of genuine 23k gold leaf, burnishing, and toning. The oil gilding method will also be discussed as well as an overview of patination principles.

Handouts, including recipes, a bibliography of educational materials, and a supplier list will be provided. Each student will gild his or her own picture frame to take home. Traditional water gilding is designed for use on wood and may be used for such objects as frames, furniture, and architectural elements.

Workshop Fee: $650.00: includes a book of 23k gold leaf, materials, use of all gilding tools, a frame to gild and take home, and entrance to the nearby Seattle Art Museum for the class trip to view the Italian gilded frame collection
Register Early - Space is limited to 12 students per Session.

TO REGISTER: Visit: the Gold Leaf Gilding Classes section at www.gildingstudio.com

Gilding classes are held periodically throughout the year. Information concerning workshops and their locations are announced through this website. Please feel free to call or write if you have further questions or wish to inquire about the status of a particular workshop, to explore private instruction or to ask about arrangements for conducting a gilding workshop in your area.

The Dutch Black Finish for Picture Frames

noreply@blogger.com (Charles Douglas) — Wed, 05 Aug 2009 07:27:00 +0000

The predilection for frame finishes during 17th century Holland steered away from the opulence of the gold leaf gilded frames being produced at the time in France and Italy. Tastes tended more towards simpler, earthier tones as seen on the frames of Vermeer and Rembrandt and as shown below on Rembrandt's early self-portrait which hangs today at the Rijksmuseum in Amsterdam. Many of the early, ripple-style frames, however, were actually manufactured in countries such as Germany and Spain and thought of as 'Dutch' because of their extensive use in Holland.

Frames were often painted black in a form of ebonizing, due to the limited availability and cost of ebony. Considering the wide use of this approach the finish has come to be known in certain circles as Dutch Black.

The method used to achieve a deep, antique umber-black tone involves painting a custom blend of casein onto finely sanded wood which is sometimes burned with a torch for deeper colorization. Numerous layers of ruby shellac are brushed or padded on, depending on the shape of the frame profile, and hand-rubbed between each layer. The use of gilding combined with the Dutch Black finish is optional and can add an attractive, complex contrast, especially when silver or white gold is used.

For a somewhat deeper variation thee is a similar approach based on original techniques used in both America and Holland during the 17th and 18th centuries. This exquisite finish combines lampblack pigment and ruby shellac, best prepared fresh from shellac flakes and alcohol due to the short shelf-life of shellac. As many as ten coats are applied, each layer hand-rubbed. Early American cabinetmakers referred to this finish simply as Black Varnish.

The use of Dutch and Early American black frames offer an excellent choice on certain works of art such as portraits in oil as well as for mirror frames. The toning texture can be represented as a modern finish, smooth and free of distress, or enhanced with various antiqued effects, a vocabulary achieved through various means including the deposit of gray and umber pigments in crevices, washes, and rubbing-through to the wood on high points to signify age. Often, a simple and occasional rub-through to the wood and moderate distress provides the most attractive and sophisticated finish.

For those interested in experimenting with the casein-based Dutch Black finish the following steps should prove helpful:

1. Apply a diluted coat of shellac to the bare wood which helps raise the grain while holding the fibers stiff to facilitate sanding (a commercial brand of blonde shellac may be used if flakes and ethyl alcohol are not readily available)

2. Apply two (2) coats of Iddings black casein (one available source is Pacific Northwest Theatre Associates in Seattle – www.pnta.com); sand between coats with low grit sandpaper or scotchbrite pad)

3. Apply 8-10 coats of thin shellac. Lightly sand between coats after the second coat.
4. Allow last shellac coat to dry a minimum of 24 hours.

5. Polish the frame with 0000 steel wool with a little water. Avoid using too much water as this will break through the shellac layer. In areas of desired rub-through, the steel wool and water is used to this effect but must be performed carefully. Also try polishing without the use of water for a more contemporary ‘look’.

6. For a final, higher luster, an optional 1 or 2 layers of shellac may be applied and dry buffed with 0000 steel wool without water. Rottenstone applied with cheesecloth and/or steel wool can marry the overall tonality while leaving a small amount of ‘aged dust’ in crevices. Distressing with chains or other objects may also be used along edges and surfaces but should be done with great care and kept to a minimum.

24kt Gold Leaf on Glass: An experiment of the electrical properties of gilded glass

noreply@blogger.com (Charles Douglas) — Wed, 27 May 2009 08:00:00 +0000

Occasionally I have requests from those conducting
scientific research about the prospect
of providing gilding on glass. However,
until recently, I didn’t know whether any of
the traditional binders would interfere with the
required electrical conductivity. I recently had the
opportunity to provide gilding of a large glass
beaker despite the unknown suitability of traditional
glass gilding techniques. The purpose of
my client’s experiment was to repeat in the laboratory
the process by which electricity produces
lightning and to demonstrate that when water
vapor condenses, the condensate is not neutral
but negatively charged.

The first requirement was that the leaf
be 24kt. I chose Manetti double weight purchased
through Sepp Leaf Products in New York.
Although gold leaf can be adhered with a variety
of binders including oil size or glair (egg white),
we chose gelatin dissolved in distilled water as
used in verre églomisé. The rationale for the
choice was that the residual binder remaining
on the glass would be minimized with the small
amount of gelatin used. I used four diamonds
of gelatin to 300ml distilled water.

The beaker needed to be gilded on the exterior
including the bottom with a 1.5" distance
from the edge of the leaf to the top edge of the
glass. I simply taped off a section of the beaker
1.5" from the edge and gilded the glass upside
down. For maximum coverage I double gilded
the glass to allow for a solid covering of gold.
After carefully packing the beaker with a layer
of Saran Wrap and a multitude of cotton balls,
bubble wrap, and packing peanuts, I sent the
beaker on its way and waited to hear the results
of my client’s project. Here is a brief description
of his experiment.

The electrical properties of the gilded beaker
were better than expected. The gold surface is
used to collect water condensate. Ice water is
put inside the beaker to make the gold surface
cold. Dew forms on the gold if there is enough
humidity. This allows the investigator to demonstrate
whether, when water vapor condenses, the
condensate is neutral or negatively charged.
As a gilder, the main finding of interest in this
experiment is that when electrical conductivity
is required, gelatin in distilled water is a successful
method of adhering gold leaf to glass.

(originally published in the Spring 2009 issue of The Gilder’s Tip, the International Journal of the Society of Gilders)

A Model of Napoleon’s Coach Receives the Royal Treatment

noreply@blogger.com (Charles Douglas) — Sat, 28 Feb 2009 10:10:00 +0000

In 1931 the General Motors International Craftsman’s Guild was established by the Fisher Body Division of General Motors to support youth craftsmanship. They sponsored a national Napoleonic Coach contest to build an exact working model to scale of Napoleon’s Royal Coach he and Princess Marie Louise of Austria rode in for their wedding.

Judges awarded the two best coach-makers in each state with an all expense paid trip to Detroit and $50 in each winner’s pocket. One of those First Place winners was 15 year old Emmett Day from Texas.

I was very pleased to meet Mr. Day in later years and to have the opportunity to gild this intricately assembled miniature replica, so painstakingly crafted from blueprints during his youth. Today this Coach resides in the President’s house at Mr. Day’s alma mater, Texas A&M University-Commerce.

The Coach had already been painted many years ago and therefore the oil gilding method was quickly decided upon with the choice of 24kt Manetti gold leaf. The existing painted surfaces still provided appropriate sealing of all wood surfaces so the oil size would rest on top of the surfaces to be gilded. Very small brushes were used to apply the size while equally small pieces of gold leaf were cut and used to decorate each element. Extreme care was needed to safely guard against staining any of the applied velvet cushions or brocade work with the oil size or shellac which was applied to the leaf to protect against minimal handling and to add warmth to the glow of the gold leaf.

Single Gilding vs. Double Gilding

noreply@blogger.com (Charles Douglas) — Tue, 18 Dec 2007 00:09:00 +0000

An object that is double gilded has two layers of gold leaf laid, one atop of the other. This is normally done with the traditional water gilding process and imparts a very deep, golden tone that is generally free from defects in the gilding. Water gilded leaf has a satin tone in its natural state; burnishing the gold or silver leaf brings the metal to a brilliant lustre.

When water gilded leaf is left satin, it's left un-burnished. This means that the leaf not only has a satin tone but is also not compressed against the wooden object, such as a picture frame, and therefore bonding of the leaf to the gessoed wood is somewhat more vulnerable to wear. It has historically always been this way and old gilded frames and furniture that has unburnished satin areas will likely show more wear than its burnished counterparts. Therefore, I often use additional RSG (glue) in the gilding water to aid in adhesion and sometimes apply a 5:1 RSG:Water wash over the satin leaf for added protection.

Single layer gilding usually results in some anomalies ('spots' exposing underlying clay bole from pin holes; air holes or breaks in the leaf) during the process of water gilding, many of which can be covered during spot gilding, although if done excessively the result can be unsightly. Double gilding covers all the anomalies that single gilding sometimes leaves behind and is useful when gilding satin areas. It offers a very solid layer of gold leaf.

There are times, though, that the somewhat translucent quality of single gilding is preferred when developing a satin section, especially when other areas of the gilded object are rubbed, abraded, or distressed. As an example, a picture frame that is antiqued to some degree can be somewhat jarring if the sides are a strong solid double gild. It is often aesthetically best if the overall appearance of the gilding presents a sympathetic quality between each of the sections, where no one area is dramatically different in its condition.

What is Acrylic Emulsion Gilding?

noreply@blogger.com (Charles Douglas) — Sun, 05 Aug 2007 07:40:00 +0000

The process of gilding wood involves the use of either of two methods: traditional water gilding and oil gilding. Sometimes the two methods are combined on the same object for different effects. However, if we oil gild with an oil size, what are we doing then when we gild with a water based acrylic emulsion? Good question!

The modern day acrylic emulsions for use in gilding - Wunda Size or other such products - are water based but are certainly not to be confused with traditional water gilding, a centuries old, complex and beautiful method of gilding with genuine gold leaf. Since acrylic emulsion sizes are not oil based they cannot be categorized as oil gilding. So what are they?

Oil gilding uses a linseed oil-based varnish-like medium which we call oil size. The term size implies an adhesive. Oil sizes are referred to according to their drying times: slow size and quick size. Within these two parameters there are actually a number of different drying times available - usually 1 hour, 3 hour, and 12 hour. The hour designation refers to the approximate length of time it takes for the size to reach the appropriate tack window needed to begin gilding. This window of time, where the size is just tacky enough that when you draw your bare knuckle across the oiled surface you hear a squeak, eventually closes to the point where the oil will no longer adhere the leaf to the surface.

A slow dry size, a term that is reserved for the 12 hour version, has the longest open window of any of the oil sizes and has the greatest leveling properties. It takes a fairly long time to reach the window when one can begin gilding - approximately 12 to 17 hours - and remains open for quite some time after that, perhaps 36 hours or more depending upon weather conditions. Lefranc slow dry is preferred by many gilders and a new lead-free version is now available in the 12 hour version only.

A quick size comes to tack quickly but will leave its window quickly as well. It usually stays tacky enough, however, to do a small job nicely. I often mix a slow and a fast dry Rolco brand size at a 50:50 ratio to gain greater control over the drying times.

So with all this talk about oil size, where are we with acrylic emulsions? After applying the emulsion size to the surface, it behaves like oil in that it needs to have time to set up and a window that eventually (emphasis on eventually!) closes. But it's not oil gilding. It's water-based but it's not water gilding.

The explanation is actually quite easy. There is an umbrella term that covers both oil gilding and acrylic emulsions: Mordant Gilding. A mordant is an adhesive medium that is used as a binder for gold leaf as well as silver and other metal leafs. In fact, oil size and acrylic emulsions are only two mordants; historically, a variety of binders, or mordants, have been used in gilding including garlic, glair (egg white), gum ammoniac, and tragacanth.

The new acrylic emulsions have some positives and negatives. They are water-based, therefore clean up easily with soap and water allowing you to avoid the somewhat messy mineral spirits and gummy residue associated with oil size. However, oil size, especially the slow dry, is nicely self-leveling, whereby an acrylic emulsion essentially lays the same way that it's brushed onto the surface; it just sort of lays there, so you need to finesse it carefully by feathering it out. But the acrylics can be gilded after about fifteen minutes or as long as thirty-six hours. I tested a piece recently and gilded a board after the emulsion size had dried for thirty-six hours and it gilded very well with great retention. I wouldn't be surprised if the window stayed open for a week, which isn't actually a plus unless you're gilding some very large walls!

The one thing that bothers me about the acrylic emulsion are the brush marks left in the size since it isn't self-leveling. But it's certainly worth working with if you have a good touch and are good with a brush. Be careful though on the type of project you use it on because it never seems to ever really dry. If it's not a piece that's going to be handled and is given a light shellac coat, then by all means try it and see if you can use it in your own work.

For those of you interested in exploring oil sizes further, visit http://www.theletterheads.com/glawson/goldsize.html. The late Rick Glawson, a gilding colleague, was always full of helpful gilding wisdom.

See you next time...

~Charles

Some Thoughts on Gilding...

noreply@blogger.com (Charles Douglas) — Sat, 28 Jul 2007 06:07:00 +0000

...Some years ago I was told by a reputable source that true Armerian Bole could no longer be had. The bole we often use today is German or french primarily but Armenian bole - ah, there's something special. Well, after 15 or so years I find out from a Russian gilder that Armenian Bole is not only available but he ordered some for me from his supplier! I'll report back here when I get it and let you know how it appears, feels, smells and, of course, how it burnishes.

Helping another colleague edit her upcoming book on gilding. Need to keep things under wraps for the moment but look for something along the lines of verre eglomise. This should be good...

Venturing forth into architectural gilding, a somewhat different approach to the requirements of gilding and restoring picture frames but the same techniques. Required samples are different. Instead of rabbet sizes to measure there's blueprints. Next month I'll be gilding some custom moulding around the ceiling in a powder room, water gilding with 12k white gold to provide a segue between the black granite walls and the ceiling. Perhaps I can post a photo here when done.

Technically speaking for those of you interested, I've found an attractiveness to the use of Italian rabbit skin glue when preparing bole for water gilding. It seems softer than the German pebble which I have used for years. I am also finding hide glue to offer quite a brilliant burnish. Sometimes early tests like these show promise in the beginning and peter-out as time goes by. Something else for me to report back to you about after using these materials a little longer.

Decided to offer once again the two-day traditional water gilding class for people who wish to immerse themselves in the craft for a full weekend but may not need to do it for three days. Its been a popular format in the past and trust that it will meet the needs of students on a tight schedule but passionate nonetheless. Stay tuned to the class schedule at http://www.gildingstudio.com/ for dates and times. The next workshop is August 25 & 26.

More to come...

Gilding Thoughts for Today

noreply@blogger.com (Charles Douglas) — Thu, 12 Jul 2007 07:37:00 +0000

As editor of The Gilder's Tip, the International Journal of the Society of Gilders, I get to correspond with some pretty interesting people in the gilding field. The issue we're working on now doesn't go out to members until January, 2008 - but time does fly. In it will be a wonderful article by a gilder in Chicago who specializes in the water gilding of harps and a paper by Jerry Tresser on a qualitative study of Cennini concerning slaked plaster.

The journal currently only goes to members so if you're interested, better sign up as a member with the SOG. Our 20th year anniversary is next year so there will be a special Summer '08 edition, just before our next gilding event at the Smithsonian next Fall! ~

Meanwhile, I am going to re-introduce my special two-day traditional water gilding class to be held at my new studio location in Green Lake at the northeast end of Seattle. It's an intensive two days, exploring all 12 steps of the water gilding process for frames, furniture, and decorative elements. I'd also like to incorporate an after class trip to the new Seattle Art Museum to view the Italian gilded frame collection. So, keep your eye on the schedule.

Today's gilding tip: always think through your projects slowly and carefully before applying materials and quoting prices. It's a complicated craft so you want to make sure you give yourself the best chance for success by taking your time and considering all the angles, reviewing samples, getting as much info up front as possible. I've gilded many different objects over the last twenty some-odd years - from glass doors and metal domes to 17th c sconces and early American frames. Each object has a story to tell and brings it's own challenges. Take your time when time allows.

~Charles

The Use of Fabric to Reinforce Gesso

noreply@blogger.com (Charles Douglas) — Mon, 25 Jun 2007 01:40:00 +0000

Sometimes referred to as interlaggio, the application of a fabric, preferably linen, to a surface to be watergilded during the initial sizing (glue/sealing) stage can help prevent the subsequent gesso from developing crack mechanisms. I've usually rummaged through piles of fabric until I've found something fine and with a fairly open weave but I've decided recently to actually choose a fabric specifically for this purpose and standardize this part of my operation for gessoing and gilding large surfaces where gesso cracking is more likely.

I never knew there were so many forms of linen, some of it quite costly. But I did find something from a distributor called Rag Finders but when I returned to the fabric store today to buy more there wasn't any left in stock. I also learned that different types of linens are purchased frequently so it may be difficult to buy the same exact linen every time. So, I guess if you find something you really like, buy a lot.

I have found that when water gilding large flat surfaces, the gesso can have a tendency to develop hairline cracks. Fabric has been used for centuries for reinforcement of gesso and plaster surfaces and can help minimize or prevent these cracks from occurring. During the first step of water gilding - applying hot size (glue) to the wood surface - I like to size the front (and back if applicable) and let it dry and then apply another coat of glue to adhere the fabric. Saturate the wood surface with size, lay the linen on top and apply additional size to the top of the fabric, virtually saturating it. Make sure the linen lies flat across the wood while smoothing out the wrinkles with your fingers. Some people prefer to actually soak the fabric in the glue itself before applying it to the wood. After the glue dries after 24 hours, trim any loose ends of the fabric and gesso as normal.

Historically, the use of fabric between the sized surface and the gesso has also been used on metal before gilding. There is some evidence of this from early Egyptian gilding although it's a method most suitable to porous wood. The fabric will help the gesso to adhere to a non-porous surface but it will likely not be as long lasting as when done on wood.

Gilding Workshops and Demos

noreply@blogger.com (Charles Douglas) — Mon, 11 Jun 2007 07:21:00 +0000

Just finished two more gilding demonstrations at Daniel Smith Fine Art Materials in Bellevue, WA today. That's four in the last couple of weeks. Met some great folks and had a few questions that I couldn't quite answer off the top of my head so I need to research some things... keeps me on my toes. So to all of you who came: thanks for coming! Drop me a note to say hi...

Tomorrow begins a journey to Texas. A true father and son adventure. I'm thinking of ringing up Society of Gilders members as we pass through their states and towns, just to send my greetings. In an SOG state of mind I guess since I completed the compilation tonight of all the gilding articles and photos for the next issue of our journal and sent it off to our publisher in Nashville. This will be a good issue; I especially enjoy the article on conservation of French gilded furniture by Cynthia Moyer who is currently working on a project for the Met.

Meanwhile, the question of the week seems to be: What type of size should be used for gilding on paper? Well, a number of mediums have been used over the centuries. Gum Ammoniac for one. Gum Arabic. Glair. People have even been using Elmer's glue at a 50:50 ratio, glue:water. Let it tack up and apply the leaf. I like glair myself. Pour the white of an egg into a bole, pour in enough distilled water that is equal to half an egg shell and beat it. Let it sit overnight and strain off the fuzz the next morning. Dilute if necessary and use this medium to first seal the paper, let it dry and apply again. Lay genuine gold leaf to the wet glair and let dry. It gets more involved than this but this should give you a start.

Back in a week!

Restoration

noreply@blogger.com (Charles Douglas) — Tue, 05 Jun 2007 08:06:00 +0000

Slow to show an entry this week since I've been putting the final hours into the upcoming edition of the journal for the society of gilders, The Gilder's Tip. As senior editor of this wonderful little publication it allows me to explore in depth various pockets of gilding information throughout the world and forces me to keep prying back the layers of mystery, myth, and mis-information concerning the gilding arts. ~

Tomorrow is delivery day for two 19th c frames which I've had the opportunity to work on these past six months. They'll be glad to see me go. All in all we spent over 120 hours on them. Finely carved water gilded pieces, they have gone through repair attempts in the past. Many areas where there were once carved wood decorative elements now showed dried, brown, putty compound. We removed all those sections which had also been covered in bronze paint; we re-carved the missing elements in wood and water gilded each one to blend with the rest of the frame. Numerous areas were consolidated with 5:1 water to RSG at 10% to help stabilize the flaking gesso. A light shellac coating was applied as a barrier between the existing gilding and the light raw umber casein wash applied to patinate the new gilding and to allow it to segue into the old gilding, essentially marrying the finish. A very basic approach but one that works well.

Will be back...Charles

Tomorrow I'll take the photos and will post one here.

Gilding Demonstrations in Seattle

noreply@blogger.com (Charles Douglas) — Mon, 28 May 2007 21:59:00 +0000

Yesterday was demonstration day at Daniel Smith Fine Artists supplies in Seattle. Always good to get away from the gilding dungeon and visit other folks interested in this craft. Some really great questions popped up and although I usually pride myself on having answers there's always a couple that leave me stumped, such as whether certain clay boles have colors added to them or are the colors - such as Green and Amalfi Blue - naturally occurring? Or, what's the best resist to use when gilding a surface within a specific section that is surrounded by an acrylic paint design to prevent any leaf from sticking in unwanted places? Talc has been effectively used, as has potato, or perhaps a contemporary mask. Either way, off for more research to find out. Maybe someone will actually weigh-in here before I do!

Sunday June 10 at 12pm and 2pm will be another demo day, this time at the Bellevue Daniel Smith store. A nice way to spend a few hours and this doesn't happen often since I teach in my Green Lake gilding studio primarily. So stop by, for those of you in the area.

Back soon...

Blue Bole for Water Gilding

noreply@blogger.com (Charles Douglas) — Wed, 23 May 2007 07:50:00 +0000

Something new: Amalfi blue bole. For the uninitiated, clay bole is the undercoat used in traditional water gilding. Water gilding allows the gold leaf to be burnished to a brilliant lustre and as a method that has been traced back to at least 3,000 BC, little has changed in its' preparation. A protein binder (size, such as rabbit skin glue) is applied to wood to seal the surface and provide for proper adhesion of gesso. The binder is then mixed with water and a filler, usually calcium carbonate, to make the gesso. When dry, the gesso is sanded or water-polished. After this the bole and size mixture is applied.

As gold leaf is somewhat translucent, the color of the bole will affect the look of the leaf, especially if and when the leaf is abraded, either intentionally or through natural wear over time. Amalfi blue is fairly light with an almost aqua tone. It looks quite nice with a 22 or 23k leaf as well as 12k white gold.
One problem with blue bole in the past was its interaction with genuine silver leaf or with the silver present in white gold, eventually discoloring the leaf। However, the manufacturing process for blue bole was changed in the last few years to eliminate the tarnishing effect. I do find that it's important to polish the bole well before gilding as it can dry somewhat stiff and gritty. Polishing then allows for a very smooth and attractive burnish.

Of Gilded Books and Walls

noreply@blogger.com (Charles Douglas) — Fri, 18 May 2007 08:47:00 +0000

Just started reading a wonderful new book by Deborah Davis called The Secret Lives of Frames, the basis of an antique frame exhibit by Lowy's in New York. An extensive publication so it'll take a while to read it carefully through, the kind of book that's savored over time. I don't necessarily agree with everything written in the section on gilding but the documentation and photography of antique frames is excellent and quite beautiful. Similar in scope to Eli Wilner's The Gilded Edge.

Meanwhile, another day of sample prep for an interior architectural gilding project using oil gilded aluminum leaf. Optional tinting of umber and lampblack pigment in clear shellac. We'll see tomorrow what works. Keeping my hands going on an extensive restoration project consisting of two 19th c frames in serious disrepair. Also received a call for gilding the name of a ship on a book. There are two bookbinders back East I could recommend but the schedule is tight and NY is far away. I have something in mind that may work.

The next issue of The Gilder's Tip, the journal for the society of gilders, is due at the end of the month to the publisher. Articles on book edge gilding and the search for a home base for the society's inherited gold beating equipment from Swift & Sons. The SOG is a great organization for those interested in learning more about gilding.

2 am. Need rest before the architectural gilding meeting in the am. To be continued...

Gesso

noreply@blogger.com (Charles Douglas) — Wed, 16 May 2007 07:46:00 +0000

Today's tip...don't make gesso when you're tired. Unless you're like me where you absolutely have to because that's how you make your living. In that case, go s-l-o-w. Gesso making - in fact, all steps in traditional water gilding - are based upon certain concepts of balance. Balance of whiting to RSG (rabbit skin glue...yeah, I know), proportions in the RSG mixture - a 10% rule of thumb of which no one can seem to agree on how to determine 10%, but we'll save that for another time.

And what happens if materials are not in balance? The system breaks down. Gesso may delaminate from the wood surface, perhaps not until you've laid down the expensive 23k gold leaf and you're now just applying pressure from the burnisher only to find everything is coming off the surface. Very disheartening. But that kind of thing usually only happens once because you learn real quick.

So, if you're tired, it's easy to make mistakes, especially when weighing materials on a gram scale and other materials by metric volume. Just go slow and triple check yourself if necessary. Or better yet, wait until you're awake.

Medieval Gilding meets the Blog

noreply@blogger.com (Charles Douglas) — Mon, 14 May 2007 07:41:00 +0000

With a new studio in the heart of Green Lake, one of Seattle's many districts, I thought I'd celebrate - with a blog to help stay in touch with new and old students and others that I meet - in life and online - who are keenly interested in the gilding arts.

It's only been about 20 years since the walls of secrecy surrounding this ancient craft started breaking down, mostly in the US. The society of gilders, formed in 1988 under the guidance of Bill Adair, was particularly responsible for peeling back these hidden and protective layers built around such techniques as traditional water gilding by gilders intent in protecting their livelihoods. There aren't many gilders today but there never were, and likely never will be. But today you'll find various workshops and classes in gold leaf gilding in its various forms popping up across the country. Something unheard-of when I trained in NY in the early 80's.

It's here then that I begin the journey of sharing some of what I've learned in the various aspects of this craft and the challenges that come up every day. Feel free to add your thoughts, ask a question, whatnot. Until then, to see some visuals visit my website at www.gildingstudio.com