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Quick Links
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 June 9, 2010
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Summer Classes
New Workshop in Development!
Glass Gilding:
Creating Gilded Glass Mirrors
based on
The Art of
Verre
Églomisé
Coming This Summer or Early Fall!
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Ask The Gilder...
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| Questions submitted by our members and others from around the artworld...
Q. I'm writing to you concerning a gold clock
which needs to be restored after a fire has smoked it.
However, the actual object is in Rio de Janeiro, Brazil.
Would you be able to advise me.....?
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~ Joana, Brazil
A. The best approach I have found to treat smoke damaged objects is to use an
Ozone Room to help remove the scent of smoke from fire.
I clean the gilded object first in an appropriate manner, bring it in
for ozone treatment, and then continue with the restoration. Ozone is comprised of three atoms of oxygen. Two of these atoms form the oxygen molecule; the third can release and re-attach to other substances which is what aids in removing the unwanted scent. However, as personal exposure can potentially be harmful it is imperative that this type of treatment be performed by a professional firm that specializes in ozone treatments. (As of last notice, Joana found assistance through the National Brazilian Restorer's Society).
Q. Where can I find the special paper you use to cover joints and mitres when gessoing? I noticed on your website that you used a Japanese paper on a chair joint. ~John, Malta
A. There is an Italian term which is used in gilding called Interlaggio. The traditional material used to cover joints and mitres, such as the corners of picture frames, is a fabric such as linen or a very fine China Silk. The fabric is placed over the joint during the application of rabbit skin glue before applying gesso. Once the glue size has dried and the wood reaches a state of equilibrium, which takes at least 24 hours, the gesso is applied. The interlaggio helps to conceal the mitre line, joint, or imperfection in the wood and helps to keep the gesso from cracking in these areas which often happens if this technique is not used.
The fabric should have an open weave to allow for good bonding with the gesso and it should also be thin to avoid reading-through the gilded finish in the event your gesso layer is somewhat thin.
The material I often use however, and the one in the photo on my website, is indeed a Japanese paper. The type I currently use is Sekishu which is handmade from kozo and sulphite and although thin, it is quite strong for its weight. If you cannot locate it where you are you can find it at Daniel Smith Fine Art Supplies in Seattle, WA (USA) which ships internationally to most destinations. Their website is www.danielsmith.com
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A FREE Gesso Demonstration
in June
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|  Daniel Smith
Fine Art Materials
4150 First Avenue
South
Seattle, WA 98134
Saturday June 26, 2010
11:00 am and 1:45 pm
A Demonstration on the practice of preparing traditional gesso as a ground for gilding and for canvases before painting.
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Summer Gilding Classes
3-Day Workshop
Traditional Water Gilding
August 13, 14, 15
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New!
Water Gilding Refresher Class
for Returning Water Gilding Students
August 21
Registration for the Refresher Class Ends Friday, June 24!
* Need help with preparing gesso & bole?
* Can't get the leaf to do what you want it to do?
*Feeling Overwhelmed?
Spend the day with gilder Charles Douglas who will provide personal attention to help you with the challenges every gilder must face when learning this beautiful and beguiling ancient craft.
~ Guidance in cutting and applying gold leaf
~ Understanding the recipes of gesso & clay bole
~ Learning to create a beautiful gild
Registration Details Below
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The Gildingarts Newsletter
Coming in June...
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| Next
Issue!
A new Installment in the next issue on the series on Traditional Water Gilding:
Rubbing
the Leaf - a technique in altering the gilded appearance.
Applying thin gesso to an ornament that was cast for a damaged antique frame. The ornament was then sanded smooth, clayed, and gilding.
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Back Issues of The Gilding Arts Newsletters |
|  New Member? Missed an Issue?
The Gilding Arts Newsletter periodically publishes technical information concerning the various methods of gold leaf gilding. Some of these topics are in series formats such as the current series on Traditional Water Gilding.
To receive back Newsletter issues, simply send a quick email to Charles Douglas Gilding Studio at charles.studio@usa.net to request a particular series so you can stay current. Back issues are normally sent out by email within 48 hours.
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