GILDING

Gilding takes three main forms, OIL GILDING, GLASS GILDING and WATER GILDING

Oil Gilding

or ‘surface gilding’ uses an oil-based mordant usually gold size that is painted onto a solid, non-porous surface such as painted timber or sealed plaster. In signwriting, the letterforms are painted using gold size mixed with a little colour and then left to partially dry. Timing the readiness of the size, the correct ‘tack’, is part of the expertise required in gilded signwork, not too wet or the gold leaf will ‘drown’ and not too dry or you will leave misses in the gold finish. When ready the metallic leaf (gold, silver, white gold, copper, aluminium, Dutch metal, palladium, platinum or variegated)  is applied with pressure onto the sized areas. Once laid on, the gold is burnished with pure cotton wool or a squirrel mop to achieve a shiny lustre.

Glass Gilding

Glass gilding does not use an oil-based size but a mild gelatine size. This is because if oils were used they would be trapped between the gold and the glass so marring the finish when viewed from the front (all signwork done onto glass should be done on the back in reverse). So the glass is flooded with a mild gelatine solution, loose leaf is immediately applied and allowed to dry before burnishing. Painting the back of the gold will protect that chosen area (painted letterforms for example) and all remaining gold can be washed off so leaving a mirror gold effect from the front.

Water Gilding

or Gesso gilding, as used extensively by picture framers uses as its size rabbits foot glue to make a gesso. Layers are applied to the surface to be gilded, the final layer receiving the gold which is then burnished with agate burnishers.

Gilding, like sign-writing, is a craft skill that takes a lot of practice to get a ‘feel’ for the medium and the characteristics of both transfer and loose leaf. I hope you enjoy browsing these pages and if you should have any questions concerning anything you see, please do not hesitate to ask.

I am based in Wimbledon, S.W. London but am happy to travel if the nature of the work utilises my specialist skills. I have worked away from home as far afield as the beautiful City of Canterbury (Teokath signs) and, for the Emporium white gold fascia sign, to a 17th Century building at the heart of historic Hungerford.

However, London , in particular S W London and central London; e.g. Wimbledon; Wandsworth; Chelsea; Knightsbridge; Westminster; Mayfair; Pimlico; Fulham; Hammersmith; Kensington; Portabella; Paddington; Clapham; Battersea; Mitcham; Balham; Colliers Wood; Merton; Putney; Tooting; Bayswater; Barnes; Richmond and East Sheen are my main catchment areas.

Bruce Barber – Tiger Signs