Replies

1. 
   bigfootnampa | Jun 02, 2009 07:21am | #1

   I like to use spar varnish as a size.  I have used Helmsman but I like Man O' War.  They are very slow sizes but have a pretty long window for applying your leaf.  Apply them fairly thin... too thick and they'll be soft and gooey under the leaf.

2. 
   SteveSchoene | Jun 02, 2009 03:10pm | #2

   Have you seen the recent article in FWW (Issue 204) by Peter Gedrys that gives detailed step by step proceedures for gilding.  His example was gilding for carvings.  If you are a subscriber you can read this on-line. 

   http://www.taunton.com/finewoodworking/SkillsAndTechniques/SkillsAndTechniquesPDF.aspx?id=32134

    

    

1. 
   WillGeorge | Jun 04, 2009 02:53am | #6

   I have read it and VERY good in my opinion..

   And who is to argue with Rob Miller? Not me!Edit I think it is Rob Millard.

   Edited 6/3/2009 7:56 pm by WillGeorge

3. 
   sapwood | Jun 02, 2009 07:26pm | #3

   http://www.seppleaf.com

   This company has a wide variety of different leaf, tools, and sizes. They are extremely helpful over the phone.

   A few years ago I searched high and low for instructional articles and videos on gilding. I found some but not an awful lot. What I did learn was reading about it doesn't come close to the actual handling of the stuff. You must learn not to breath or be resigned to watch a $3 sheet of gold float away. And don't drink too much coffee.... shaking doesn't help. I'm stretching the truth, actually. Gilding offers an exciting new dimension to one's work.

   Oh, one more thing. Use real gold, not that nasty artificial stuff.

4. 
   peter28 | Jun 03, 2009 03:04pm | #4

   Napie,

   If you have any demos or classes available in your area, do yourself a favor and go to it. Watching someone with experience handle gold will help shorten the learning curve that Sapwood referred to.

   Nothing reflects light like gold. Even in subdued light it's impressive. Did you get that email I sent you? 

5. 
   RMillard | Jun 03, 2009 04:10pm | #5

   Napie,

    

   Will the eagle be exposed to the weather?

   If not, a mixture of oil and water gilding, or just water gilding alone would be the way I would go.

   My experience with mixing oil and water gilding on the same piece is limited, but I have water gilded a few pieces. I have mixed my own burnishing clay and used the pre made type sold by LaFranc, and I like the LeFranc. It is traditional to use red clay, which gives a rich under tone to the leaf, but in some highly detailed areas like feathers, a yellow clay will help disguise some small voids, as will mixing mica powders in a varnish/shellac binder. The mica powder can't be used to cover sloppy workmanship, but it can save a lot of aggravation getting the last little bit of base covered. I use a number 0 artist brush to apply it.  

   There seems to be a lot of issues with the gesso, but I mix mine from the whiting and rabbit skin glue sold by Olde Mill Cabinet Shoppe and heat it in my glue pot, and I have never had any problems with air bubbles. I will say that gilding in general and water gilding in particular is the most boring and tedious thing I have ever done.

   There is a good article on it in the May/June 1984 Fine Woodworking (issue 46).

   If you want some more information on water gilding let me know.

   Rob Millard
   http://www.americanfederalperiod.com

1. 
   peter28 | Jun 04, 2009 08:33pm | #7

   Hi Rob,

   With all the exacting work you do, I'm surprised you find gilding boring. The prep work can be laborious, but the same holds true for any fine work. Different strokes I guess.

   I did an architectural gilding project last year that took five packs of gold to complete. It was mordant gilding with French Pale leaf. That, as you know, is a lot of leaf to sling. I'll have the photos on my website pretty soon.

   I just bid on a project to gild the name of a bridge being built here. It will be at the top of concrete piers at the entrance of the bridge. The letters are quite large and are to be gilt in place which means we'll be up there doing the job. I doubt that will be "boring"

   BTW, remember that piece of veneer I sent you? Did you ever figure out what it is? I have quite a bit of it to play with.

   Take care,

   Peter

   http://www.petergedrys.com

    

1. 
   RMillard | Jun 05, 2009 03:56am | #8

   Peter,

   I disliked gilding so much, that I took all gilded pieces off my website and sold what few tools and supplies I had.

   I went to your website and my favorite thing was the gilded shell; if it glows like that in a photo, it must be unbelievable in person.

   When you gild outside, do you have to use the leaf attached to tissue paper?

   I never did figure out what kind of wood it was, nor I have I used it yet, but I have a job starting next week, it would be prefect for, if it is big enough.

   Rob Millard

   http://www.americanfederalperiod.com

    

1. 
   peter28 | Jun 05, 2009 04:26am | #9

   Rob,

   There was a pair of those shells in the dining room. That was one of four rooms I worked on in that home back in the middle 90's. There was another small room that was was done in random width vertical boards of satinwood that had a hip and  bead. The boards were solid, not veneer. I never saw anything like it. I did a French polish on it. That job was one of those home runs you get once in a while where the client just turns you loose and says have fun. 

   When doing exterior work I do use patent leaf whenever possible. We also use rolls which is patent in rolled form. I always have some loose leaf with me for pressing into reliefs or faults. It's been said the essence of patience is loose leaf gilding outside on a windy day.

   If that piece of veneer isn't big enough and you want more just let me know, I have plenty. Please post a shot of it when you're done, I'd like to see how you utilize it.

   Take care,

   Peter