Water gilding

Interior Application

Water gilding achieves the most superior finish of all gilding techniques; it is however the most labour intensive due to the additional materials , specialist skills and tools required. The ground is made up of gesso (chalk and glue) which is applied layer upon layer and carefully smoothed using tools and papers to achieve a flawless finish followed by the preparation of clay bole (coloured clay and size) layers, this is then polished and acts as a cushion to receive the gold.

The gold is then laid with water and is always ´double laid` so a second application is required. The final brilliance of the gold can be left in a variety of finishes from matte to satin or a highly burnished result where the gold leaf is compressed using burnishing agates.

Medieval interiors would rely on highly burnished gilding which would reflect the brightness of a flickering candle to make the rooms richer and brighter.

 

Oil gilding

Typically external application

Oil gilding is the only choice if gilding externally or in damp conditions as it can naturally withstand the elements. You would typically see oil gilding on church spires, railings and other architectural mouldings and signage. However it can also be used inside on wallpaper, furniture, mouldings and metal work on an appropriately prepared surface. The gold is applied using a gold size to a well prepared ground of paint or gesso.

Conservation and Restoration

Both Water Gilding and Oil Gilding need to be taken good care of. Gold is inert and will not tarnish, but alloys in other golds will. Gilded surfaces can be brought back to life after years of layers of dirt and grime, but this needs to be carried out sensitively and in a patient manner. More harm can be done in one wipe of a damp cloth on a water gilded surface than doing nothing at all. There are many methods and materials that can be used but they must be specific to the type of gilding that is to be cleaned and conserved.

The restoration can vary from small repairs, cracks or replacing missing decoration to removing layers of varnish and paint to reveal the original surface. In some cases after carefully removing layers of bronze paint it is possible to uncover an original gilt surface, this is truly magical and rewarding.

An original object that reveals some or a majority of original gilding is of its own beauty and in most cases the original surface would be cleaned and conserved this way. But if this is unachievable because after investigations the original gilding was too incomplete or too little to compliment its surroundings there is an option to re-gild providing the surface is sound.

Gilding Materials

Techniques of gilding dates as far back to the ancient Egyptian times.

Traditional recipes have remained unchanged for hundreds of years. I make my own materials - gesso, sizes, boles and glues using traditional methods and recipes.

There are many varieties and carats of gold available to suit purposes and appearance - 24 carat gold being the purest and most favourable.

Gold leaf can be produced in either transfer (where it is lightly adhered to the backing sheet). Transfer leaf is used for oil gilding.

Loose leaf can be used for both oil gilding and water gilding.