A Gilder's Journal...

A Word on Mordants

noreply@blogger.com (Charles Douglas) — Mon, 12 Apr 2021 03:28:00 +0000

Mordant Gilding is a term used in gilding that relates to the use of an adhesive medium and considered an

23k gold leaf on leather with acrylic emulsion

alternative method to Traditional Water Gilding. There are various mordants that we can choose from when gilding although Oil Size and Water Based Adhesive (a white acrylic emulsion such as the Sepp Leaf Workshop brand) are the two most popular in contemporary gilding alongside Instacoll and Miniatum by Kölner.

I also think of glair and gum ammoniac as mordants, two very old bonding mediums used for adhering gold leaf to paper and glass. Glair, discussed by Ceninni in his 15th c Treatise Il Libro Dell’Arte, is beaten egg white mixed with a little water and allowed to sit out overnight and the froth removed the next day. It provides a strong bond and when weakened with additional distilled water it’s brilliancy on glass can rival that of the more often-used gelatin size as we have seen in our églomisé/glass Online gilding classes.

Gum Ammoniac, a gum resin that exudes from the stem of the herb Dorema Ammoniacum can be found in Iran and Northern Africa. It is used by Calligraphers and historically goes back centuries for use in Manuscript Illumination. Through my own exploration I have found it to also be a candidate for gilding on glass to achieve a bright gild.

For those seeking ways to gild on leather, glair has been the traditional medium for bookbinding and bookedge gilding. However, I have also found acrylic emulsion to be a quick and decoratively successful way of gilding the smooth side of leather which, showing through my recent testing, to be a flexible mordant for leather. ~

Note: For those interested in an entry level introduction to the art of bookedge gilding a Zoom! Online 4 session class is scheduled through Charles Douglas Gilding Studio October 6-27, 2021. Registration is currently open at gildingstudio.com.

Zoom! Online Gilding Classes

noreply@blogger.com (Charles Douglas) — Mon, 17 Aug 2020 23:21:00 +0000

This September ushers in a new (ad)venture: Online

Gilding Classes! This is made possible through the use of Zoom, one of a number of Conferencing software apps which allow from one-on-one personal tutoring to an Online classroom size of any number, whether small groups or large.

Our newsletter members and students make up an exciting gilding community extending from England, Ireland, and Sweden to New Zealand, South Africa, and all across the US so it’s wonderful that we can all join in as we explore these beautiful, ancient methods of gold leaf gilding. This is welcome news for those in need of an option to the classroom setting or as a convenient way for students to supplement their gilding education.

This new Online format provides a full Program of The Gilding Arts with multi-lesson courses in Traditional Water Gilding, Mordant Gilding, Glass Gilding/Verre Églomisé, Gold Leaf Restoration, and Gilding and the Antique Dutch Black Finish with Masterclass Tutorials in subjects such as Preparation of Gesso Putty and Mould-Making and Casting ; Toning of Gilded Surfaces; and the series Gilding in the Sacred Realm for Buddha Gilding , Icon Panels, and Liturgical Art.

Shorter one hour Tutorials focus on specific areas of gilding for technical development such as using the gilder’s pad, knife, and tip effectively when working with loose gold leaf; solving issues such as troubleshooting picking up gold leaf with the gilder’s ‘tip’ and removing water spots on burnished water gilding.

Students will have the opportunity to enroll in the Full Program which will become available in early 2021, allowing enrollment in each online class, Masterclass, and Tutorial. Students may alternatively choose to register for any Course, Masterclass, or Tutorial separately.

Fall, 2020 Classes are now available for Individual Registration including Traditional Water Gilding, Gilding for Works of Art...a Study for Fine Artists, Gold Leaf Restoration, and the Masterclass Tutorial: Sacred Gilding: Gilding the Buddha.

The first step for those interested in the Online Gilding Classes is to download the free Zoom App on your chosen device and become familiar with how the program works. Zoom is fairly easy to use but it is still a good idea to become comfortable with using it before classtime. It is also recommended to register early to get fully prepared with any tools, supplies, or materials that you’ll need to acquire.

How the Online Gilding Classes work:

Download the Zoom App at www.zoom.us/ . The zoom program will default to the language of your computer’s operating system. The Home Page will direct you to download a Free version of the Zoom Application.
Register for the Gilding Class or Tutorial of your choice. Students may Register at www.gildingstudio.com or through The Gilding Arts Newsletter.
Once a student Registers, students will receive a Confirmation of their Registration with a Zoom Link to the class.
Student clicks the Zoom Link in their email five minutes before class time begins.
Student will automatically be entered into a waiting room on Zoom. Each student will be entered manually into the Online Classroom by the Instructor (Charles) before class time begins.
Once all students have been ‘entered’ into the Zoom Class the classroom will be locked by the Instructor as a safety protocol to ensure that our gathering is limited to enrolled students only.
Class times are Live from Seattle, WA and are specified as Pacific Standard Time. Students will need to adjust to their local time. (For example, a class that begins at 11:00 am PST will be 7:00 pm in Ireland, GMT+1).

Major Courses meet once a week for approximately 90 minutes per lesson. This has been designed to allow students to be challenged without being overwhelmed. Students have the option of using their gilding tools and materials to work on a project while following along with the Instructor or to simply watch and take notes during that day’s lesson. Homework will be issued each week.

Upon registering students will be provided through email any Gilding Recipes pertinent to their Course and a copy of the Lesson Plan and homework assignments. Students will also receive a tools and materials list and suggested projects to work on during the course of study.

Efforts are underway to provide for recording of all Courses and Tutorials through Zoom to allow access to Video Archives to registered students. This will be a large benefit to the student body. Announcements will be made through The Gilding Arts Newsletter once this option becomes available.

Both Classroom and Online methods for learning gilding have their own benefits and opportunities and I am grateful that we can join together on this creative journey!

~ Charles Douglas,

Teacher and Instructor

A Primer for Aspiring Gilders: Methods, Binders, and Terminology

noreply@blogger.com (Charles Douglas) — Mon, 13 Apr 2020 02:45:00 +0000

To many of the uninitiated, intrigued by the beauty of gold leaf, one of the first questions I hear is “what makes it stick?”. It’s actually a long answer, depending on the method of gilding, historical reference, and personal choice.

Gilding, which is the application of a metal leaf to another surface is comprised of three main methods: Water Gilding, Mordant Gilding, and Glass Gilding/Verre Églomisé. Water Gilding is used primarily on wood although can also be performed on plaster, hydrocal, and a mould-making material known in the Framing and Furniture world as Compo. Mordant Gilding which includes such adhesive agents as oil size and acrylic emulsion is designed for any non-porous surface from sealed wood and glass to stone and walls. Glass Gilding can be performed on either the front or the back of glass, from mirrors and tabletops to decorative glass sculptures and gilded and painted sceneries of age-worn Grandfather Clocks.

Within these methods lie the techniques used for Byzantine, Russian, and Greek Iconography, Manuscript Illumination, 13th-18th c Florentine gilded panel paintings, the gilded architecture of Cathedrals and Domes and Palaces, the ornate picture frames of French, Italian, Flemish, and early American design, Asian temple woodcarvings, Tibetan metal work, the decorative effects of raised gesso for calligraphy or its use on frames and furniture in the form of pastiglia, or the beauty of paint over gold and etched away in a method known as sgraffito, or the gesso treatments of granito. The uses of gilding throughout the centuries seems endless.

Traditional water gilding generally involves rabbit skin glue and/or gelatin; glass gilding/verre églomisé uses a food grade gelatin for bright gilding or oil size for contrasting matt sections although glair - beaten egg white - can also be used as described by Ceninni in his Il libro dell’Arte for religious reliquaries which also leans matt, depending upon the strength; oil size is a popular bonding medium in mordant gilding alongside other mordants including garlic, gum ammoniac, and contemporary acrylic emulsions. The use of these mordants extend from oil gilded interior and exterior architecture to the application of glair and gum ammoniac for manuscript illumination and bookedge gilding.

Each of these bonding mediums carry their own characteristics and purpose of use. Referred to as Size, many mordants such as oil size and acrylic emulsion (sold as water-based adhesive) are applied topically to a non-porous surface and allowed to dry to a slight tack on which the gold, silver, or other precious or non-precious metal leaf is applied. Both of these adhesive materials are considered mordant gilding. While we often hear of the popular term oil gilding, there is no separate term other than mordant gilding for gilding with acrylic emulsion and despite it being water-based it would be incorrect to refer to it as water gilding, a completely different method of gilding rooted in antiquity dating back over several thousand years.

Traditional water gilding involves a protein binder throughout the process. My method of practice begins with preparing a 10% rabbit skin glue (rsg) solution: 1 part dry granules to 9 parts distilled water. Once the granules soften overnight they are heated in a double boiler until dissolved, the mixture never surpassing 120F to avoid destruction of the enzymes which would affect the adhesive quality of the glue. The wood object is then coated with a layer of the heated size and left to dry 24 hours, allowing the wood time to stabilize from the hydration.

The Rabbit skin glue solution is also used to prepare gilder’s gesso, a combination of 10% rsg, additional water, and calcium carbonate which is applied to the sized wood. The 10% rsg is then used in the preparation of the clay bole (a 10% solution of gelatin can be used for the bole instead of rsg as a matter of choice) which is applied over the gesso.

The term gesso is used to convey foundation or ground. As used by the gilder it is most often comprised of rabbit skin glue, calcium carbonate, and distilled water. I have recently come to refer to it simply as gilder’s gesso to help differentiate it from other forms of gesso such as oil or acrylic-based. They are all referred to as gesso which can be confusing as the term is shared but the materials that are used in their manufacture are quite different. Although they each form a ground, a painter will use gesso to isolate the canvas from the effects of oil paint while a water gilder will apply gesso to wood to fill the grain and burnish the gold to a high lustre.

During water gilding, the gold leaf is laid over the clay bole once the bole has been sufficiently hydrated with water and alcohol, reactivating the glue in the clay which bonds the leaf to the surface. The leaf is then later burnished to a beautiful brilliancy. Often the gold leaf is left matt in specific sections of the gilded object for contrast to the burnished areas.

Clay bole is obtained as either a dry cone which gilders will then grind or tumble in a ceramic tumbler as I do with water and tumbling stones until creamy or it can be purchased pre-mixedwhere the clay has already been tumbled and mixed with water. This clay is then combined with a certain amount of dissolved rabbit skin glue or gelatin and applied over the gesso that has been sanded smooth. The clay provides a sympathetic color under the gold or silver leaf and aids in the effectiveness of the burnishing with an agate stone burnisher.

Gilders will often use the terms Clay Bole, Clay, or Bole interchangeably. Intriguingly, this holds true whether the clay bole is in its raw dry cone or pre-mixed state and whether or not it has been combined with the glue size. This is important to note since protein binders such as rabbit skin glue and gelatin have a short shelf life once mixed with water and should never contaminate the raw form of the clay bole which normally sits on the gilder’s shelf as it will turn the container of raw clay rancid and useless, it should only be used to create what I call prepared bole - the solution of clay, water, and glue which is used while gilding and stored in the refrigerator when not in use.

Protein binders such as rabbit skin glue can last many months in their dry state when stored in a glass container and cabinet but breakdown fairly quickly once combined with water. Depending upon the temperature setting and condition of refrigerators, two weeks is generally a good guideline for maximum life of the prepared glue, whether in the form of the 10% water and glue size, the prepared clay bole, or the gesso. When any of these prepared materials deteriorate, which could be between 2-4 weeks in the refrigerator, the prepared glue size, clay, or gesso will develop a soft, watery texture and eventually a strong odor if left passed their prime due to the presence of the rsg or gelatin as they are both protein binders and should never be used once deteriorated since the adhesive quality will be adversely affected.

The method of mordant gilding with either oil size or acrylic emulsion is less time intensive than traditional water gilding although each step is nonetheless important to be done correctly to achieve an attractive gild and to avoid any stressful mishaps.

Unlike water gilding which requires a porous surface, mordant gilding requires a non-porous surface. Technically, raw wood could simply be given numerous coats of shellac to reduce the porosity on which oil size or acrylic emulsion can then be applied. Once the size dries to a tack the leaf is laid and gently compressed with either a soft pounce pad or light pressure through the thin rouged paper inside the gold leaf booklets or whatever is the gilder’s preferred method for smoothing the leaf. However, although a porous surface can be made non-porous there are other steps a gilder can take to create a more attractive gild than simply gilding over shellac-sealed wood.

I often apply several coats of gilder’s gesso to wood frames and furniture to fill the grain, sand the gesso and apply enamel paint as an undercoat before oil gilding which provides a nice foundation free of the presence of wood grain while the paint seals the porous gesso and offers an attractive color under the somewhat translucent gold leaf. Other preparatory treatments are often necessary for other surfaces such as metal, especially for exterior work for successful bonding and longevity.

Gilding on glass is a method that I often refer to as Glass Gilding or by the French term Verre Églomisé, named after the 18th c French Dealer and Restorer Jean-Baptiste Glomy (1711-1786) who reintroduced the ancient Roman technique of gilding and painting on the back of glass.

As a weak size made of gelatin dissolved in water is used, some refer to this method as water gilding which I refrain from to avoid confusion with traditional water gilding. The form of gelatin used for glass gilding today comes in the form of a clear, short rectangular sheet with perforated diamond shapes for ease in measuring. Pharmaceutical capsules have also long been used and some gilders prefer these although in either case, the gelatin should be stored in a glass jar in a cool cabinet. It is best to use fresh gelatin as age can affect adhesive quality. A clear, crisp snap of the gelatin ‘diamonds’ is a good indication of fresh quality.

For the beginning gilder it is perfectly good to choose a path of specialization in a particular area of gilding, whether as a water gilder of frames or furniture, a hand-letterer on glass, a manuscript illuminator, or a restorer of gilded antiques. Whether someone chooses to specialize or to become proficient in a variety of methods and techniques it’s beneficial to acquire an overall knowledge of the various forms of gilding, their history and purpose of application. It can be helpful in a business context and in the sense of self as an artist, in one’s confidence, choices, and opportunities that may come along. ~

Traditional Water Gilding Class, New York, June 20-22, 2018

noreply@blogger.com (Charles Douglas) — Sun, 10 Jun 2018 09:09:00 +0000

There are many opportunities available right now for learning a variety of gold leaf gilding techniques. Two classes for New York this month are sold out but new sessions will be available in October in New York and even earlier in Seattle. Meanwhile, for those interested in the beautiful method of Traditional Water Gilding there are a few seats available for June 20-22. Registration is available at www.gildingstudio.com. Or through the Gilding Arts Newsletter. Drop me a note if you have any questions. Hope to see you in Manhattan!

Gilder's Gesso: Mixing Calcium Carbonate with Rabbit Skin Glue

noreply@blogger.com (Charles Douglas) — Tue, 27 Feb 2018 23:57:00 +0000

Gilding: Using the Gilder's Pad~ Charles Douglas Gilding Studio

noreply@blogger.com (Charles Douglas) — Sun, 25 Feb 2018 04:13:00 +0000

Creating a custom URL for my Youtube Channel, just four more subscribers needed. After 26,000 views on this clip I figured it was about time ;). ..Charles

Gilding in...Seattle

noreply@blogger.com (Charles Douglas) — Mon, 18 Dec 2017 11:00:00 +0000

It's a true joy to be working with some wonderfully talented painters around the country in this popular gilding class. And now an additional pleasure to be presenting it for the first time at Artist & Craftsman in Seattle ~ join us if you can!

East Hampton Class Announcement, Summer, 2018

noreply@blogger.com (Charles Douglas) — Wed, 13 Dec 2017 10:38:00 +0000

Gold Leaf Gilding class at TALAS in Williamsburg, Brooklyn, New York!

noreply@blogger.com (Charles Douglas) — Sun, 03 Dec 2017 10:27:00 +0000

The allure of the various applications of gold leaf gilding and the use of silver and other metals is ever enduring, an art with roots that extend thousands of years ago. There now seems to be a heightened Renaissance where Fine artists are rediscovering what is known as a traditional 'gold ground', where a bed of genuine gold leaf is laid upon a panel or sometimes as a standalone canvas or canvas applied to panel, painted over or inbetween the layers of leaf, gilded during an initial sketch on the surface.

To help meet the needs of artists wishing to explore the many ways of incorporating gold or silver leaf into their own works of art I developed a one day intensive workshop with hands-on instruction in the method of oil gilding flat surfaces and areas of relief with guidance in planning a painting where gold or silver will be used. We also explore other mordants such as gum ammoniac, gum arabic, clay bole for paper, and are introduced to the principles of traditional water gilding for panels as done on Icons and 13th Century Italian panel paintings. Students also gain experience in handling genuine loose gold leaf and the tools of the gilder including the pad, knife, tip, and burnisher.

This coming January 27 I am pleased to announce a new location in New York for this increasingly popular gold leaf gilding workshop at Talas Bookbinding, Archival & Conservation Supplies in the heart of Williamsburg, Brooklyn. I am looking very forward to working in association with Talas and sponsor Sepp Leaf Products in New York. Talas offers such a wonderful array of quality art supplies and at a convenient location to a strong artistic community.

Gilding Workshops continue at other locations including Sepp Leaf in Manhattan on Park Ave S and 27th St. The Gold Leaf Gilding for Works of Art class there on January 24 is sold out so the timing is perfect for those interested in attending Talas Saturday, January 27, 2018.

Registrations are now being accepted and are limited to 16 at Talas. A two-day Advanced Traditional Water Gilding class is also open at Sepp Leaf January 25 & 26, 2018. All class registrations may be found at gildingstudio.com

For those interested in receiving the Quarterly emailed Gilding Arts Newsletter may sign up at the gildingstudio.com website to receive informative articles, tips, and a members-only workshop discount on all classes!

Questions? Just drop me a note here or contact me directly at charles.studio@usa.net

See you in class!

Peace, health, and clarity,

Charles

Gold Leaf Gilding for Works of Art on Canvas, Paper, and Panels...a Study for Fine Artists

noreply@blogger.com (Charles Douglas) — Sat, 03 Jun 2017 12:37:00 +0000

23kt Gold Leaf Gilded Pastiglia with Red Bole

Student gilding water color paper

A particular new class that I've developed over the last few years, Gold Leaf Gilding for Works of Art on Canvas, Paper, and Panels...a Study for Fine Artists is, for me, one of the most intriguing and challenging both due to various mediums that artists use - oils, acrylics, water colors, and surfaces such as panels, canvas, paper - and perhaps even more, the individual approaches to artistic expression where gilding with gold or silver may be involved.

Some of the most well-known examples come from artists such as Gustav Klimt of course but also those of more contemporary stature such as Brad Kunkle, Fred Wessel, Allessandra Maria among others. The use of gold leaf also extends back to 3rd - 7th century manuscript illuminations, 13th century Italian panel paintings, early Icon drawings, and to the exquisite Peruvian Cuzco School of painting where gilding played an integral and beautiful role known as brocateado de oro.

Gilding, in essence, is the application of a metal to another surface. Gold leaf, silver leaf, white gold, palladium, and platinum as well as base metals such as copper, brass, and aluminum may all be gilded to a wide variety of surfaces using what we refer to as mordants or sizes which are adhesives ranging from protein binders to acrylic mediums. The practice of gilding involves several different methods depending up the surface and desired effect - traditional water gilding, mordant gilding of which oil gilding involves a prepared oil size, verre églomisé (reverse glass gilding), manuscript illumination (water gilding or the application of modern acrylic-based sizes such as miniatum from Kölner), and a contemporary version of water gilding from Kölner, a company based in Dresden, Germany.

Kölner Instacoll

The special luminosity of gold and silver leaf lends itself beautifully to certain works of art, whether as a background on panels where gesso incision and punchwork may be used to enhance a sense of brilliancy or complexity, or as slight embellishment to a painted canvas or the raised effect of gilded pastiglia on paper, literally dripped gesso as a relief which can then be water gilded.

Gold leaf gilding, however, remains a mystery to many, its options unknown, and the infiltration of quick-and-easy materials on the market may be confusing at best. In response to requests from Fine Artists I developed this class specifically for the artist seeking to incorporate gold leaf and other metals into their works of art.

One important skill which I teach in each of the gilding classes I offer is how to handle gold leaf which is as thin as .01 μm (4 millionths of an inch). This involves removing the leaf from the booklet, using the pad to lay the leaf to be cut with the gilder's knife, and using the tip, the delicate, flat fine-haired brush to lift the leaf from the pad to the surface.

During this one day workshop we work with a variety of mordants including oil size, Kölner's Instacoll, gum arabic, gum ammoniac, acrylic emulsion, clay bole, along with a summary of pastiglia and traditional water gilding. The idea is to educate the student with the many options available to them and the best approach to using the materials generally most suitable for use on canvas, paper, and panels.

Oil Gilded Canvas Board, 23kt Gold Leaf

The Gold Leaf Gilding for Works of Art workshop is scheduled in several cities this year : June 13 in New York City at Sepp Leaf Products, Oct. 21 in Louisville, Kentucky at Art Sanctuary, and July 1, Aug. 5, Sept. 9, Nov. 4, and Dec. 30 at my studio at Gasworks Gallery in Seattle, WA.

For those interested in attending the New York class there are a few spots open. I am also proposing an informal afternoon gathering at 1:00 pm at the Neue Gallery to view some of Klimt's gilded paintings including a very special viewing of Adele Bloch-Bauer (Woman in Gold)! The website at the Neue Gallery states a reduced admission of $10, a great way to end the class that week! Registration for the gilding class can be found at www.gildingstudio.com. Questions? Send me a note! Hope to see you!

~ Charles

Announcing Gildingstudio YouTube Channel...

noreply@blogger.com (Charles Douglas) — Wed, 17 May 2017 17:21:00 +0000

Interesting leading the Gilder's life sometimes. Working within the realm of a medieval craft the majority of my days while doing things like last night, setting up my YouTube Channel so I can share the various video clips I take when working on projects or feeling inspired to demonstrate a gilding method technique I find myself working on. But there it is, modern life.

So, if anyone feels so inclined here's my Channel where I currently have five clips, from making gesso to burnishing leaf with more to come! I think I've amassed about 60 in my iPad to choose from :).

https://www.youtube.com/channel/UCZS2lcUck6Y6fBQVsZjexhg

Enjoy - send me your thoughts - come to a class! Heading to New York Mid June to teach the Gilding for Fine Artists class and Traditional Water Gilding. Always fun!

Peace, health, and clarity,

Charles

gildingstudio.com
instagram.com/gildingstudio

New Gilding Class Updates!

noreply@blogger.com (Charles Douglas) — Mon, 15 May 2017 10:40:00 +0000

Greetings! Listed below is a summary of gold leaf gilding classes offered this year in Seattle, New York City, and now Louisville, Kentucky! Additional classes in Seattle are offered monthly through December. Currently accepting Registrations for all classes, available on the website at www.gildingstudio.com. (There is also a website link to receive the free email-based Gilding Arts Newsletter published quarterly which provides a 10% newsletter Member Discount for all classes!)

Questions? Email me at charles.studio@usa.net. I always try to get back within 24 hours.

Hope to see you in class! ~ Charles

New York City
Location: Sepp Leaf Products

June 13, 2017: Gold Leaf Gilding for Works of Art on Canvas, Panels, and Paper...a Study for Fine Artists

June 14-16, 2017: Traditional Water Gilding

October 3, 2017: Kolner Contemporary Gilding Series: Instacoll Gilding System

October 4-6, 2017: Traditional Water Gilding

Louisville, Kentucky New!
Location: Art Sanctuary

October 21, 2017: Gold Leaf Gilding for Works of Art on Canvas, Panels, and Paper...a Study for Fine Artists

October 22, 2017: Special One Day Introduction to Traditional Water Gilding

Seattle
Location: Gasworks Gallery

May 20, 2017: Glass Gilding: Creating White Gold Mirrors (Verre Eglomise)

June 3, 2017: Gold Leaf Gilding for Works of Art on Canvas, Panels, and Paper...a Study for Fine Artists

June 8-10, 2017: Traditional Water Gilding

June 24, 2017: Oil Gilding

July 1, 2017: Gold Leaf Gilding for Works of Art on Canvas, Panels, and Paper...a Study for Fine Artists

July 13-15, 2017: Traditional Water Gilding

Gilding Class Announcements

noreply@blogger.com (Charles Douglas) — Sat, 05 Nov 2016 14:16:00 +0000

Greetings All! For those inclined to jump in and explore this wonderful medieval craft there is still time to sign up for one or more classes before the year ends as well as a few already scheduled for January, 2017!

For Seattle we have:

November 17-19, 2016: 3-Day Traditional Water Gilding

December 3, 2016: Gold Leaf Gilding for Works of Art on Canvas, Panels, and Paper...a Study for Fine Artists

December 10-11, 2016: 2-Day Introduction to Traditional Water Gilding

January 12-14, 2017: 3-Day Traditional Water Gilding

January 20-21, 2017: Glass Gilding...the Foundation for verre eglomise

January 27-28, 2017: Introduction to Gold Leaf Restoration...mould casting, ingilding, gesso putty, crackle gesso!

Meanwhile, there will be classes taking place once again in New York City. Of special note is my participation in association with Sepp Leaf Products at Salon NYC 2017! This event which takes place April 13, 14, 15, 16, 2017 in New York is dedicated to the Decorative Arts and travels to a different city each year around the world. Stay tuned and plan to drop by the booth and say hello if you're in NY. Stay tuned for more details!

Meanwhile, to receive information on gilding classes, learn from an ongoing exploration of gilding techniques, and to find out what's going on in the Gildingworld , sign up for The Gilding Arts Newsletter published quarterly and delivered to your email. Beginning as an educational resource for students the newsletter is now sent to members in 15 different countries ~ join us!

Gilding Arts Newsletter

Peace and Clarity,

Charles

Seeking the Meniscus...Measurements Used in Gilding.

noreply@blogger.com (Charles Douglas) — Sun, 04 Sep 2016 14:10:00 +0000

Often students will ask during the Traditional Water Gilding class whether the measurement of materials should be by weight or volume when preparing rabbit skin glue size, gesso, and clay bole. I usually preface my answer by first pointing out that I prefer the metric form of measuring as I find it more exacting.

When I switched many years ago from the US table of measurements to metric I performed a simple test: I measured by eye what appeared to be an ounce by volume of dry rabbit skin glue and then weighed it on a metric balance scale for comparison. Each time I performed the test the metric equivalent was different. That was convincing enough for me to make the switch to metric; I needed to match samples of gilded picture frame finishes as closely as possible and since there are so many things that can go wrong in gilding it's best to control what can be controlled and that would include the measurement and freshness of materials.

The question of whether to measure by volume or weight is a little more complicated. The equivalency of measuring materials by either of these two methods depends upon the material. Water may be measured either by weight or volume (1 ML of water = 1 gram). So which is better, to measure water by volume in a Graduate or weigh it on a metric scale? To answer this let me illustrate that in the past when I chose to weigh dry materials such as rabbit skin glue and whiting on a metric scale I measured water by volume in a Graduate, keeping the beaker as steady and even as possible for accuracy. However, I inadvertently discovered one day that a specific amount of water that I measured by sight of volume did not equal the same when weighed on the metric scale.

The reason for the discrepancy is due to what is called the meniscus which is the curve in the upper surface of the water in the Graduate. A meniscus may be either convex or concave depending upon the liquid and the surface material of the object containing the water. Water and the use of a glass beaker or plastic Graduate will produce a concave meniscus as shown in this photo of colored water in a burette, the proper reading being 20 ML:

What this means in practice for gilders is that the proper measurement of water requires viewing the surface of the water through the measuring container straight on so that the meniscus can be seen; it is the bottom of this curve that determines the proper measurement. As an example, if you are seeking to measure 50 ML of water make sure that the bottom of the curve is at the 50 ML mark.

To discover how much difference there might be by virtually 'eyeballing' a certain amount of water in a Graduate I tested measuring by volume 50 ML of water without specifically looking for the meniscus but still seeking a measurement that seemed fairly accurate. I then weighed this amount of water on a metric scale with a result of 41grams! When making small batches of rabbit skin glue size or bole mixtures this nearly 20% variance could prove quite drastic, partially because we run the risk of using a glue size that is stronger than we think.

What we can learn from this is that we need to seek the meniscus of water if choosing to measure by volume. Considering the chance for error, however, it is simpler and safer to weigh the water on a reliable metric scale.

Choosing Oil Size or Acrylic Emulsion?

noreply@blogger.com (Charles Douglas) — Fri, 22 Jul 2016 16:43:00 +0000

Q. What would be the reason to choose either oil size or acrylic emulsion when using a method of gilding other than traditional water gilding?

A. Oil size and acrylic emulsion, sold under such names as Water Based Gilding Size, Aquasize, or Wunda Size, are a form of mordant gilding. Mordant gilding employs the use of an adhesive to adhere gold, silver, or imitation leafs to a prepared surface. Other mordants include gum tragacanth, gum ammoniac, gum arabic, garlic, and glair (beaten egg white).

The use of oil size, a form of mordant gilding, is commonly referred to simply as oil gilding. It's a specially formulated varnish which produces a satin to semi-gloss tone in the leaf. It does not produce the high luster of traditional water gilding but it has an attractive appearance of its own. It offers a durable finish and is used for both interior and exterior gilding projects.

Oil size is self-leveling whereby the oil tends to smooth out after it's brushed on thinly. It cleans up with mineral spirits and so is somewhat messy to work with so be prepared to use rubber gloves, spirits, and perhaps some acetone in the cleaning of your brushes.

Oil size comes in different drying times ranging from 3 hour to 24 hour. In practice however, once a can has been opened the drying time becomes shorter and shorter. It's best to open the can, stir the size to bring the driers to the surface, and pour some into another container for use on your project. This way you can close the can of oil size and preserve its life.

The water-based sizes are much cleaner to work with as they only need soap and water for cleanup; just make sure you clean your brush once you're done as the size will harden and will require acetone to remove the dried adhesive. One of the benefits of the acrylic emulsions is that once it's applied to a surface it will come to the proper tack in about 15 minutes and remain properly open to gild for about 36 hours. The drawback is that it never seems to quite dry. A clear coat after 24 hours can help protect the gilding from this effect.

Acrylic emulsions have a brighter appearance than oil size but do not have the brilliancy that you can only get from traditional water gilding nor does it share its almost magical tone and glow. As for which size to use, oil or water based, it's important to know that most any high quality project which is not water gilded uses an oil size. That said, acrylic emulsions can provide a gilding option that is both quick and much easier for the beginner.

About Traditional Gesso: Part Two

noreply@blogger.com (Charles Douglas) — Sat, 16 Jul 2016 16:22:00 +0000

Smoothing away pinholes in gesso

In our last installment of the water gilding process we discussed an overview of preparing gesso, its function in sealing the grain of wood and allowing the gold leaf to be burnished. It is also of great importance to understand the relationship between the strength of the binder (usually RSG - rabbit skin glue) and its relationship to the filler (whiting - calcium carbonate). If the glue strength goes much beyond the 10% solution, the possibility of crack mechanisms in the gesso increases; likewise, if the glue strength is too weak, gesso delamination from the wood surface could occur.

Once the proper gesso mixture has been prepared and at least 5-7 coats have been applied, the gesso is allowed to sit overnight to thoroughly dry. It is then ready for surface treatment to provide a smooth surface.

There are different ways to smooth gesso, the most common method today being sanding. I like using 3M Tri-M-Ite sandpaper as it holds up well and cuts through the gesso efficiently. Primarily, I use either 220 or 280 grit, depending on the surface and how aggressive the paper needs to be. As a rule of thumb I recommend using as fine a grit as possible while still being able to effectively smooth the surface. If the finer 280 grit works well there is no need to use the heavier coarse 220 grit which will leave heavier sand marks which will later need to be removed. If starting with the heavier 220 grit, follow-up with a light sanding of the 280 grit and a light, final dry polish with either 600 or 1,000 grit wet or dry paper.
There are other techniques that may be used to smooth gesso. Cennino Cennini discusses in his 15th century treatise Il Libro dell'Arte (The Craftsman's Handbook) the use of 'little hooks' and a spatula to scrape gesso smooth as well as the use of water polishing with a damp rag. The use of a method called re-cutting, prevalent during 17th century France and Italy, is still used today.

Other treatments to gesso for aesthetic affect include incising and punchwork which create texture and often elaborate surface decoration as a compliment to the gilded surface.

About Traditional Gesso: Part One

noreply@blogger.com (Charles Douglas) — Wed, 13 Jul 2016 17:55:00 +0000

Traditional Gesso is the combination of a protein binder (RSG), distilled water, and Calcium Carbonate - also known as whiting, or chalk - as a bulking agent. It is not to be confused with the oil-based or acrylic material sold today for use on canvases in preparation of painting.

Preparing a chair for gilding with gesso

The traditional gesso recipe used in water gilding performs two functions: filling the grain of the wood and providing a smooth, hard surface that allows the gold leaf to be burnished to a brilliant lustre.

The preparation of all of the recipes used in water gilding are quite precise including that used to make gesso. One very important consideration is the strength of the RSG formula which is a 10% solution: 9 parts water to 1 part dry RSG, either in pebble or granular form. If the RSG solution is prepared too strong there is risk in developing crack mechanisms in the gesso layer. Likewise, if the RSG solution is too weak, one faces the possibility of delamination of gesso from the wood substrate.

Numerous layers of warm gesso are painted, stippled, or sprayed onto the wood surface. Each layer is allowed to dry only long enough so the application of the next layer does not disturb the previous layer. Anywhere from 5-20 coats may be applied, depending in part upon the object and the desired effect. The concept, which dates back to the early Egyptians, is that the wood is intended to appear as solid gold, an effect created largely by the use of gesso as a ground for gilding.

There are a variety of approaches used throughout the world in the successful preparation of gesso and although recipes and methods may seem at first glance to differ, the basic principles of glue strength and the ratios of RSG to Whiting are quite similar when analyzed. Logically, they would ultimately need to be since the relationship between the binder and the particles of calcium carbonate are subject to the same chemical principles.

We Get Questions....

noreply@blogger.com (Charles Douglas) — Mon, 11 Jul 2016 21:31:00 +0000

We get questions about gilding quite often. Many from artists,craftsman and designers around the globe.

It's our intention to post some of those questions -and answers!- right here on the blog so that we may reach as many people as possible.

Do you have a question about gilding? Please feel free to respond with any of your own and we'll make every effort to answer you in a timely manner. We hope you'll find the information helpful and this blog a valuable resource.

This one is from Dom in Australia:

Q:What glue or adhesive would be best to gild paper?

A: Concerning gilding paper, the traditional method for manuscript illumination is a method of water gilding using gesso sottile and clay bole. The bole contains a binder such as glair which is beaten egg white. Other binders have been used for many years for use on paper including gum arabic and gum tragacanth which is a gum derived from a plant in the Middle East, mainly Iran.

This form of gilding, however, is a very specialized process. So, for your purposes you could just experiment with making glair by beating an egg white with a little bit of distilled water (enough to fill one half of an eggshell); let it sit overnight and drain off the froth the next day. Dilute the egg a little more till it flows freely from the brush. Apply one coat to the paper and let it dry to seal it, then add another coat and apply the leaf. You can read about this method in the 15th Century Florentine treatise written by Cennino d'Andrea Cennini: Il Libro Dell'Arte (The Craftsman's Handbook).

A modern day product, aptly called Paper Size, is simple to use and provides a bright burnish. It's manufactured by Kolnar Glanz in Germany and distributed by Sepp Leaf Products in New York.

A Florentine Perspective in New York City...Come Take a Class!

noreply@blogger.com (Charles Douglas) — Sat, 09 Jul 2016 17:42:00 +0000

Join Us in NY in September!

Gilder's gesso, made from calcium carbonate and rabbit skin glue, forms the ground for traditional water gilding and in turn allows the applied gold leaf to be burnished to a lustrous glow. As centuries pass, the movement of the gessoed wood and environmental factors cause a distinct crackling in the gesso layer adding further aesthetic complexity as can be seen on such objects as 13th-15th C gilded panel paintings of Italy as can be seen in the Accademia and Uffizi Galleries of Florence.

During this five day intensive workshop students will be taken through each step of the crackled gesso traditional water gilding process, from sizing the wood and preparing the crackle gesso to laying genuine 23k gold leaf and toning. A book of 23k gold leaf and a raw wood panel will be provided for students to gild and take home.

All materials and use of gilding tools are available for class use. For those interested in acquiring their own gilder’s tools, a specially selected Traditional Water Gilding Kit is available. Visit Gildedplanet.com at www.gildedplanet.com/watergildingclasses.html for more details. Use promo Code GSclass2016 for a student discount.

Superyacht Invictus

noreply@blogger.com (Charles Douglas) — Wed, 06 Jul 2016 01:27:00 +0000

Superyacht, a term often used now for a commercially operated luxury yacht where one may find marble floors, spiral staircases - or, if you prefer - an elevator. And in this case, 900 feet of 23kt traditionally water gilded moulding.

2013 saw the completion of Invictus, a yacht built by Delta Marine in Seattle who contracted me to gild the interior of the Executive Office on the top floor of this magnificent 215 foot ship.

When I first met with Delta and the Diane Johnson Design team, we reviewed the plans for gilded mouldings that would later be fitted into routed grooves (see photo below) along with cove and floorboard mouldings that would combine gilding and black catalyzed varnish.

Superyacht Invictus

The presentation of various samples of gold leaf gilded mouldings resulted in a choice for water gilding due to its elegance and ability to balance the requirements of a hint of brilliancy against an aged appearance with a rubbed leaf over a dark, earth-red ground. The hermetically sealed design of the ship, of which I was informed is better than one's home, would provide a suitable environment for the gesso-based gilding.

The final design plan was to use water gilded 23kt gold leaf, burnished over a custom-mixed dark red bole consisting of 50/50 German Red and Black clay. The leaf would be rubbed to expose the dark red bole and then toned with an umber-tinted Ruby shellac.

As for challenges, there are always difficulties with a large scale project that need to be confronted and resolved. In this case one of the larger issues was that the mouldings to be fitted into the wall panelings measured only a quarter inch wide and were joined at the mitres like picture frames so the mitre cuts wouldn't show. Unfortunately, once hydrated, the frames bowed in the middle causing some of the corners to pop open - I would sometimes actually hear them snap from across the room! - so the handling of these delicate mouldings proved very difficult, especially during burnishing. As the wall panelings were already meticulously painted the gilding needed to be done separately and the mouldings inserted.

Finished Moulding

Applying weights on the corners of the frames after any hydrating helped stabilize them and after many hours all the various sized frames were finally gilded, toned, and installed successfully.

One of the aesthetic challenges was that some of the gilding was accomplished in the studio, some onsite in the manufacturers's workspace - the size of a small airplane hangar - and also onsite on the yacht itself in a separate hangar amongst the wiring, cables, woodworking, and painting of the yacht builders. The goal was to maintain a consistent antique color tone on all 900 feet of moulding, executed under three separate lighting conditions while also envisioning how the appearance may change once the ship was launched where the lighting would change once again under natural conditions. The only true approach to this is to maintain awareness, make sure the toning recipe and application is consistent, and to not go too dark on the tone - it's always easier to make something a bit darker later than lighter.

In the end, the look of the water gilded gold leaf set against the deep, dark black elegance of the varnished walls and cabinetry was quite stunning. Several studio assistants were on hand to contribute their skills throughout this year long project: Madeline, Heather, Alyssa, and with a special thank you to Swedish Gilder and Restorer Malin Isaksson who flew many miles to be involved and lend her assistance. (To view some of Malin's work visit the website at the Stockholm Furniture Fair.)

noreply@blogger.com (Charles Douglas) — Wed, 05 Aug 2015 14:02:00 +0000

Greetings! For those of you interested in studying gold leaf gilding I will be conducting four separate one day Workshops in New York City September 9, 10, 11, and 14. Each day covers a different topic including Glass Gilding, Oil Gilding, A Study for Fine Artists: gilding canvas, paper, and panels, and a full day intensive on Traditional Gesso.

The classes are held at Sepp Leaf Products in NY at 26th st and Park Avenue South. Signup for The Gilding Arts Newsletter at www.gildingstudio.com or visit the class schedule to Register. Spaces are available but interest is strong and spots are filling. Hope to see you there!

June 2015 Water Gilding Class, NYC

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.