Wood GildingIt is important to understand some of the basic principles of wood gilding. A glided surface is only ever as good as the prepared surface underneath. That is to say, with wood gilding - if the wood grain is not properly sanded then the grain will show through the gold leaf. If the surface of the wood carvings are well prepared and highly burnished then this will reflect through the gold leaf and the leaf will show no imperfections from its under layer. Gold leaf, be it metal or genuine gold is so thin that it will reflect the colour of it's under layer. If a rich gold colour is required then the base colour will need to be red or brick. A yellow under surface on the wood carvings will reflect through giving a bright gold colour.
On wood carvings there is no simple method of achieving a quality gilded finish. As a rule of thumb with wood gilding the more complex the preparation and therefore the more time spent, the better the result achieved.
There is no known paint or cream which will achieve the same result as gold leaf - it will always look like a substitute for wood gilding. If you've tried gold paint or spray, you'll know what we mean.
Below is a brief resume of some of the different wood gilding methods recommended for wood carvings:
Water Gilding (We not recommend this type of wood gilding for the beginner)
The traditional and most complex method of wood gilding. Several layers of gesso, made from rabbit skin glue and whiting are applied to seal and smooth the surface. Layers of coloured bole are applied over that and smoothed. The preparation and polishing of these individual layers is most important to achieve a highly polished glass like surface on which to gild. This prepared surface is wetted with gliders liquor, and when the gold leaf is laid on it 'sucks' down onto the surface. A burnishing agate is used to give the gold leaf a high shine. This method is not suitable for exterior use.
Oil Gilding (The Best way to achieve a proper gilt look)
Imitation leaf, as sheets, rolls or abburstig, can be applied this way to almost any wood carvings. The wood carvings surface should be smooth and firm and the colour chosen will tint the leaf laid on it. A size, such as LION Size, 339 is applied. This is allowed to go off until it is slightly tacky. Gold leaf is then laid on it. It is not possible to burnish the gold leaf and it must be protected with varnish or shellac. This method is suitable for exterior use if the finish is varnished or lacquered.
1) Prepare the wood carvings by sanding. For best results first seal with clear Sanding Sealer to give a smooth surface ready for wood gilding
2) Apply 2 or 3 coats of paint. We recommend either 'Plaka' paint which is water based or Fontenay base which is oil based and acts to some degree as a sealer.
3) Once dry burnish with '0000' steel wool. It is important to remember that the higher the shine on the prepared surface the better the gold leaf will shine.
4) Paint on a thin even coat of Easy gold size'. This may be diluted up to 3 times. The less concentrated it is the more difficult it is to apply the gold leaf, but the leaf finish will have more shine.
5) After 20 minutes or so the Easy size should be almost dry, but slightly tacky. Apply strips of gold metal leaf from the roll. Cut the length required with scissors and place the gold side onto the sized surface. Smooth with a lint free cloth and remove backing paper. Place the next piece with a slight overlap. Continue until surface is covered.
6) Brush away excess leaf with a soft mop brush (2159 etc.).. It may be possible to use the brush quite rigorously at this stage but always remember that this type of size creates a soft layer between the painted surface and the leaf This makes the leaf prone to damage before a protective varnish has been applied.
7) The surface of metal gold leaf will always oxidise (tarnish) in the atmosphere and therefore must be sealed with some form of varnish. We suggest an acrylic varnishing wax which will protect against tarnish, heat and water, and gives a natural waxed finish. Another varnish you could apply to the wood carvings wood be a satin spray warning (Polyurethane) such as made by Plasticote. The benefit of this is that it is quicker and being in a spray it covers all the wood gilding a lot easier.
Cream Gilding (Very easy but doesn't have a true gilt lustre)
The wood carvings surface needs to be of an oil base. Fontenay base is ideal for this. Once the surface has been prepared the wax cream is applied on top to achieve the desired effect. It is possible to burnish or polish this surface and finally seal it with gilt finishing liquid. The product is once again made by Liberon called "Gilt Cream" and is available in a number of different shades of gold.
Liquid Gilding
Liquid gilding is in the form of a paint applied to prepared surfaces. There are several products available. 'Lustre', Acrylic gold and Everest frame finishing paints.
Kolner materials This system is a simplified version of water gilding where several layers of special paint on burnishing clay are applied, smoothed and polished. Once the surface is ready to be leafed CoInasol size is brushed over and the gold leaf, real or imitation, applied.
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