Photo from Pexels
This article appears in Sign Builder Illustrated.
By
Jim Hingst
Jim Hingst
The first time that I saw
the gilding process, I was visiting the sign shop in Disneyland in Santa Ana,
California. The craftsmen were refurbishing the carved wooden horses for a
carousel that dated back to the early days in the park’s history. That day they
were gilding some of these antique horses, which had recently been repainted.
the gilding process, I was visiting the sign shop in Disneyland in Santa Ana,
California. The craftsmen were refurbishing the carved wooden horses for a
carousel that dated back to the early days in the park’s history. That day they
were gilding some of these antique horses, which had recently been repainted.
What is so vivid in my
memory was seeing a sheet of gold, hundreds of times thinner than a human hair
float in the air. “Gold is actually heavier than lead,” someone said. “A 15”
cube of it actually weighs more than a ton.”
memory was seeing a sheet of gold, hundreds of times thinner than a human hair
float in the air. “Gold is actually heavier than lead,” someone said. “A 15”
cube of it actually weighs more than a ton.”
That sounds like one for Ripley’s Believe it or Not. For any of
you doubters, gold really is heavier. In fact, by volume, gold is nearly twice
as heavy as lead. During my trip to Disneyland I had my first lesson in surface
gilding, in which gold leaf was applied to a surface coated with an adhesive
called gold size.
you doubters, gold really is heavier. In fact, by volume, gold is nearly twice
as heavy as lead. During my trip to Disneyland I had my first lesson in surface
gilding, in which gold leaf was applied to a surface coated with an adhesive
called gold size.
Preparing
the Surface
the Surface
Before doing any type of
gilding, the surface must be clean and smooth. Any imperfections in the surface
will be very noticeable. Rough surfaces may require sanding and repainting. How
you prep the surface will depend on the type of substrate, its condition and
how badly the surface is contaminated. A surface newly painted with lettering
enamel is usually ideal, not only because it is clean but the finish is smooth
and glossy. Gilding metal may require priming. Prepping older surfaces require
the most care, which can include washing with mild detergent and water, solvent
cleaning and then finally wiping the surface with isopropyl alcohol.
gilding, the surface must be clean and smooth. Any imperfections in the surface
will be very noticeable. Rough surfaces may require sanding and repainting. How
you prep the surface will depend on the type of substrate, its condition and
how badly the surface is contaminated. A surface newly painted with lettering
enamel is usually ideal, not only because it is clean but the finish is smooth
and glossy. Gilding metal may require priming. Prepping older surfaces require
the most care, which can include washing with mild detergent and water, solvent
cleaning and then finally wiping the surface with isopropyl alcohol.
Oil
Size.
Size.
After the surface is
cleaned, an adherent called the gold size is applied to the substrate. In the
sign industry, the size, which is usually oil based, is classified either as a
fast size or a slow size, depending on how quickly the adherent comes tack.
cleaned, an adherent called the gold size is applied to the substrate. In the
sign industry, the size, which is usually oil based, is classified either as a
fast size or a slow size, depending on how quickly the adherent comes tack.
For applying gold leaf or
metal leaf on cars and motorcycles, many sign makers use a fast size, such as
1-Shot #4008 Fast Dry Gold Size and Dux Quick Dry. Depending on the brand, the time at which fast
size comes to tack and its open can vary
greatly.
metal leaf on cars and motorcycles, many sign makers use a fast size, such as
1-Shot #4008 Fast Dry Gold Size and Dux Quick Dry. Depending on the brand, the time at which fast
size comes to tack and its open can vary
greatly.
“1-Shot size can be ready in
as little as 15 minutes, and has a short open time,” says Joe Balabuszko. “Dux is ready anywhere between one hour and an hour
and a half. Le Franc takes about four hours and has longest open time for quick
size.”
as little as 15 minutes, and has a short open time,” says Joe Balabuszko. “Dux is ready anywhere between one hour and an hour
and a half. Le Franc takes about four hours and has longest open time for quick
size.”
“How fast a size comes to
tack and remains open also depends greatly on the temperature and humidity of
your work environment”, Balabuszko says. “That’s why it’s important to test how
fast the size sets up.”
tack and remains open also depends greatly on the temperature and humidity of
your work environment”, Balabuszko says. “That’s why it’s important to test how
fast the size sets up.”
After you apply the gilding
size to your work surface, also apply some to a test panel and write down the
time the size was applied. Twenty minutes after applying the fast size, start
to check for proper tack. To do this,
drag the back of you knuckle against the size. If your knuckle makes a
squeaking sound, the sizing is ready for gilding. If the sizing has not
sufficiently dried, wait ten minutes and repeat the knuckle test. Keep checking
every ten minutes until the size is ready.
size to your work surface, also apply some to a test panel and write down the
time the size was applied. Twenty minutes after applying the fast size, start
to check for proper tack. To do this,
drag the back of you knuckle against the size. If your knuckle makes a
squeaking sound, the sizing is ready for gilding. If the sizing has not
sufficiently dried, wait ten minutes and repeat the knuckle test. Keep checking
every ten minutes until the size is ready.
Timing is everything. If you
apply gold leaf too soon, you can drown the leaf in the size, which will dull
the brilliance of the gold. If you wait too long and miss the window of
opportunity, the gold leaf will not adhere properly and will flake off.
apply gold leaf too soon, you can drown the leaf in the size, which will dull
the brilliance of the gold. If you wait too long and miss the window of
opportunity, the gold leaf will not adhere properly and will flake off.
For outdoor applications,
gilders often recommend a slow size, such as Charbonnel’s Le Franc 12 Hour Gold
Size. When gilding with real gold leaf,
Le Franc slow size produces a much brighter gild than when using the fast size.
One reason is that slow size has more time to level out, so its surface is
smoother. Slow size also provides you with a longer window of workability that
can last up to 20 hours. That gives a sign maker plenty of time to gild a large
project or to deal with those inevitable everyday interruptions, which come
with running a business.
gilders often recommend a slow size, such as Charbonnel’s Le Franc 12 Hour Gold
Size. When gilding with real gold leaf,
Le Franc slow size produces a much brighter gild than when using the fast size.
One reason is that slow size has more time to level out, so its surface is
smoother. Slow size also provides you with a longer window of workability that
can last up to 20 hours. That gives a sign maker plenty of time to gild a large
project or to deal with those inevitable everyday interruptions, which come
with running a business.
 |
| There are a number of different brand and types of oil size on the market. Popular brands include Rolco, 1-Shot and Lefranc. |
Before using gold size, you
should always strain it through cheesecloth to filter any dried bits of
adhesive. After straining the size, many gilders tint it, adding a few drops of
imitation gold lettering enamel. If you are gilding on a dark substrate, the
tinting will give the size some contrast with the background. Many gilders use
the size straight out of the can, never thinning it, because thinning can
weaken the bonding strength of the size.
should always strain it through cheesecloth to filter any dried bits of
adhesive. After straining the size, many gilders tint it, adding a few drops of
imitation gold lettering enamel. If you are gilding on a dark substrate, the
tinting will give the size some contrast with the background. Many gilders use
the size straight out of the can, never thinning it, because thinning can
weaken the bonding strength of the size.
If you are using the 1-Shot
Fast Dry Gold Size and plan to clear
coat the job with a urethane clear, you should add about 5% to 10% of the
1-Shot #4007 Hardener to the size. The hardener will prevent any adverse
reaction, such as wrinkling.
Fast Dry Gold Size and plan to clear
coat the job with a urethane clear, you should add about 5% to 10% of the
1-Shot #4007 Hardener to the size. The hardener will prevent any adverse
reaction, such as wrinkling.
Before applying the gold size to the work
surface, Dr. Francis Lestingi of the Society
of Gilders recommends dusting the work surface with Shadow Kaolin, a powdered
Welch clay. This serves two purposes. As the size is brushed on, the haze
disappears so you can easily tell, which areas have been coated and which
haven’t. Any missed spots are easy to detect. The kaolin powder also forms a
barrier preventing the gold leaf from sticking to any areas of the sign, which
does not have size applied to it.
surface, Dr. Francis Lestingi of the Society
of Gilders recommends dusting the work surface with Shadow Kaolin, a powdered
Welch clay. This serves two purposes. As the size is brushed on, the haze
disappears so you can easily tell, which areas have been coated and which
haven’t. Any missed spots are easy to detect. The kaolin powder also forms a
barrier preventing the gold leaf from sticking to any areas of the sign, which
does not have size applied to it.
Using
an artist’s mop brush dust the surface with the powder to evenly distribute it
over the painted surface. Any excess powder should then be vacuumed off,
leaving a very fine gray haze on the black painted surface. Using this
procedure, very little Kaolin remains – not enough to contaminate the adhesion
value of the size.
an artist’s mop brush dust the surface with the powder to evenly distribute it
over the painted surface. Any excess powder should then be vacuumed off,
leaving a very fine gray haze on the black painted surface. Using this
procedure, very little Kaolin remains – not enough to contaminate the adhesion
value of the size.
To apply the size, many
gilders use either a lettering quill or a fitch. A lettering quill works great for flat
surfaces, because it allows you to precisely apply the size where you want it.
If you are gilding a carved or textured surface, you are usually better off
using a fitch, such as the “The David Hightower Fitch” by the Andrew
Mack & Son Brush Company.
gilders use either a lettering quill or a fitch. A lettering quill works great for flat
surfaces, because it allows you to precisely apply the size where you want it.
If you are gilding a carved or textured surface, you are usually better off
using a fitch, such as the “The David Hightower Fitch” by the Andrew
Mack & Son Brush Company.
Using a stiff brush, such as a “David Hightower” fitch, brush on the gold size.
Because the head of the
fitch is comprised of short hog bristle, the hair is stiffer and consequently does
a better job of brushing the size into any tight corners, as well as being
better at brushing out any puddling.
fitch is comprised of short hog bristle, the hair is stiffer and consequently does
a better job of brushing the size into any tight corners, as well as being
better at brushing out any puddling.
For good adhesion of the gold leaf, you only
need to apply a single light coat of size. After
applying the size, carefully inspecting your work and make sure that the size
hasn’t puddled. Any excessive pooling of the size would drown the ultra-thin
gold leaf.
need to apply a single light coat of size. After
applying the size, carefully inspecting your work and make sure that the size
hasn’t puddled. Any excessive pooling of the size would drown the ultra-thin
gold leaf.
About
Gold Leaf
Gold Leaf
Gold leaf is a very thin
sheet of real gold, hundreds of times thinner than a sheet of paper. The gold
used to make gold leaf is mixed with other metals, either to change some of its
physical properties or to alter its colors. 24 karat gold leaf is about 99.9%
pure gold. The remaining .1% is typically silver and copper. (A karat is the
unit of measure used to describe the purity of the gold. One karat equals 1/24
of the gold content.)
sheet of real gold, hundreds of times thinner than a sheet of paper. The gold
used to make gold leaf is mixed with other metals, either to change some of its
physical properties or to alter its colors. 24 karat gold leaf is about 99.9%
pure gold. The remaining .1% is typically silver and copper. (A karat is the
unit of measure used to describe the purity of the gold. One karat equals 1/24
of the gold content.)
A book of gold leaf contains
25 leaves, each of which is 3-3/8” x 3-3/8”.
Each book contains enough gold leaf for you to gild approximately two
square feet. Separating the leaves of loose
gold leaf are sheets of tissue paper.
25 leaves, each of which is 3-3/8” x 3-3/8”.
Each book contains enough gold leaf for you to gild approximately two
square feet. Separating the leaves of loose
gold leaf are sheets of tissue paper.
If you know any experienced
gilders you probably have heard them use terms such as moon gold, lemon gold,
and white gold. These are very specific
terms, describing specific colors of real gold leaf of different karats. Moon
gold is 22k, comprised of 92% gold. Lemon gold is 18k, or 75% gold. White gold
is generally 12k consisting of 50% gold and 50% silver. These are just some of the many different
gold leaf products available to gilders.
gilders you probably have heard them use terms such as moon gold, lemon gold,
and white gold. These are very specific
terms, describing specific colors of real gold leaf of different karats. Moon
gold is 22k, comprised of 92% gold. Lemon gold is 18k, or 75% gold. White gold
is generally 12k consisting of 50% gold and 50% silver. These are just some of the many different
gold leaf products available to gilders.
Another gold leaf term that
you may have heard is glass gold. This type of high quality gold leaf product
exhibits fewer surface imperfections and pinholes and is used for glass
gilding. Double gold leaf is a heavier product, being about 10% to 20% thicker
than standard gold leaf.
you may have heard is glass gold. This type of high quality gold leaf product
exhibits fewer surface imperfections and pinholes and is used for glass
gilding. Double gold leaf is a heavier product, being about 10% to 20% thicker
than standard gold leaf.
Gold leaf also comes in two
forms: loose gold leaf and patent gold leaf. Loose leaf means that the gold
leaf is interleaved between very thin sheets of rouged tissue paper. This
rouged paper has been dusted with ferrous oxide dust, which prevents the leaf
from sticking to it. To transfer loose gold leaf, the gilder uses a special
brush called a gilder’s tip.
forms: loose gold leaf and patent gold leaf. Loose leaf means that the gold
leaf is interleaved between very thin sheets of rouged tissue paper. This
rouged paper has been dusted with ferrous oxide dust, which prevents the leaf
from sticking to it. To transfer loose gold leaf, the gilder uses a special
brush called a gilder’s tip.
Patent leaf has been pressed
onto one side of the tissue paper that separates the individual leaves of gold.
With the gold being lightly adhered to the paper, the gilder can easily transfer
the gold leaf to the sized application surface.
onto one side of the tissue paper that separates the individual leaves of gold.
With the gold being lightly adhered to the paper, the gilder can easily transfer
the gold leaf to the sized application surface.
The gold usually stays stuck
to the sheet unless the paper dries out. Too much moisture in the paper is also
a problem. High humidity can increase the bond of the gold to the paper, making
transfer difficult. To prevent these problems, some gilders store their books
of patent leaf in a plastic container in their refrigerator.
to the sheet unless the paper dries out. Too much moisture in the paper is also
a problem. High humidity can increase the bond of the gold to the paper, making
transfer difficult. To prevent these problems, some gilders store their books
of patent leaf in a plastic container in their refrigerator.
“Patent leaf is easy for the
beginner to use,” says Joe Balabusczko, who, for much of his career as a union
sign painter in Chicago, specialized in gilding. “Patent leaf is no substitute
for loose leaf.” Balabusczko explains that you can work much faster with loose
leaf. What’s more, you should only use loose leaf for glass gilding and
traditional water gilding applications.
beginner to use,” says Joe Balabusczko, who, for much of his career as a union
sign painter in Chicago, specialized in gilding. “Patent leaf is no substitute
for loose leaf.” Balabusczko explains that you can work much faster with loose
leaf. What’s more, you should only use loose leaf for glass gilding and
traditional water gilding applications.
Gold leaf comes in books of 25 sheets. Thin backing paper separates one loose leaf from another. Pictured here is patent leaf, which is gold leaf material that is stuck to the backing paper.
In applying patent golf
leaf, rub the backing of the patent leaf gently until the leaf transfers. Do not let the edges of the backing paper
touch the sizing. An error such as this might show up in the burnished gold as
a dull spot.
leaf, rub the backing of the patent leaf gently until the leaf transfers. Do not let the edges of the backing paper
touch the sizing. An error such as this might show up in the burnished gold as
a dull spot.
Experienced gilders also
believe that you can achieve a more brilliant gild with loose leaf. The reason
that patent leaf does not produce as glossy of a finish is that the surface of
the gold picks up the impression of the paper. Nevertheless, if you haven’t
worked with gold leaf before and you are working in a flat, smooth substrate,
patent leaf is much easier for the newbie to work with than loose leaf.
believe that you can achieve a more brilliant gild with loose leaf. The reason
that patent leaf does not produce as glossy of a finish is that the surface of
the gold picks up the impression of the paper. Nevertheless, if you haven’t
worked with gold leaf before and you are working in a flat, smooth substrate,
patent leaf is much easier for the newbie to work with than loose leaf.
Metal
Leaf
Leaf
Of course, all that glitters
is not gold. Real gold leaf is not to be confused with imitation gold leaf,
which is called Dutch Gold, Schlagmetal or composition leaf. While imitation
Dutch gold looks like the real thing, it is really brass, comprised of 85%
copper and 15% zinc. The shortcoming of this metal leaf is that it
discolors.
is not gold. Real gold leaf is not to be confused with imitation gold leaf,
which is called Dutch Gold, Schlagmetal or composition leaf. While imitation
Dutch gold looks like the real thing, it is really brass, comprised of 85%
copper and 15% zinc. The shortcoming of this metal leaf is that it
discolors.
Transferring
Gold Leaf.
Gold Leaf.
To transfer loose sheets of
gold leaf from a book of leaves to the work surface, a gilder uses a very thin
flat brush, about three inches wide. Traditionally the gilder will brush the
hair of the gilder’s tip over his hair.
The brush hairs will pick up some of the oils from the gilder’s
hair. This gives the gilder’s tip enough
tack to pick up and transfer the sheet of gold leaf.
gold leaf from a book of leaves to the work surface, a gilder uses a very thin
flat brush, about three inches wide. Traditionally the gilder will brush the
hair of the gilder’s tip over his hair.
The brush hairs will pick up some of the oils from the gilder’s
hair. This gives the gilder’s tip enough
tack to pick up and transfer the sheet of gold leaf.
After
the gold leaf is positioned in place, use a squirrel hair mop brush to gently
press the leaf into the size. After the gold leaf is applied, use the mop brush
to dust away the excess gold particles, called skewings.
the gold leaf is positioned in place, use a squirrel hair mop brush to gently
press the leaf into the size. After the gold leaf is applied, use the mop brush
to dust away the excess gold particles, called skewings.
 |
| With a Squirrel Hair Mop Brush you can tamp gold leaf into an irregular surface. |
If
you are working with composition leaf, you can use goat hair mop brushes and
cosmetic brushes. The reason that you should not use these brushes on real gold
is that their hair is much coarser than squirrel hair and can scratch the gold,
dulling the gild.
you are working with composition leaf, you can use goat hair mop brushes and
cosmetic brushes. The reason that you should not use these brushes on real gold
is that their hair is much coarser than squirrel hair and can scratch the gold,
dulling the gild.
Some gilders will also use
cotton to remove excess gold. Be very careful when rubbing the gold with the
cotton ball. Although the cotton feels
soft, the cotton fibers are coarse enough to scratch the soft gold. The more that you rub the gold with the
cotton, the less the gold will shine.
cotton to remove excess gold. Be very careful when rubbing the gold with the
cotton ball. Although the cotton feels
soft, the cotton fibers are coarse enough to scratch the soft gold. The more that you rub the gold with the
cotton, the less the gold will shine.
 |
| Hospital cotton is much softer than coarser cotton balls and much less likely to scratch the surface of soft gold. |
To
Clear Coat or Not
Clear Coat or Not
For most sign applications, you should not clear coat 23-karat gold leaf.
Clear coating diminishes the brilliant surface of gold. The exception to this
rule is when the gilded surface is exposed to handling. Gold does not tarnish,
but it can be contaminated with body oil and dirt.
Clear coating diminishes the brilliant surface of gold. The exception to this
rule is when the gilded surface is exposed to handling. Gold does not tarnish,
but it can be contaminated with body oil and dirt.
If you
decide to clear coat your work, Butch Anton’s Frog Juice is always a popular
choice. Before using any clear coat, stir the can slowly so you don’t create
bubbles in the finish.
decide to clear coat your work, Butch Anton’s Frog Juice is always a popular
choice. Before using any clear coat, stir the can slowly so you don’t create
bubbles in the finish.
About Jim Hingst: Sign business authority on vehicle wraps, vinyl graphics, screen printing, marketing, sales, gold leaf, woodcarving and painting.
After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 190 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 500 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
© 2019 Jim Hingst, All Rights Reserved.