Update on Society of Gilders Charity Project 2012

From April 16^th to the 21^st, experienced craftsmen from the Society of Gilders (SOG) contributed their time and talent to restore two historic churches in New Orleans, severely damaged in Hurricane Katrina. Since the disaster in 2005, gilders from across the United States, Canada, and Europe have gathered annually to work on the restoration project. The group was comprised entirely of volunteers. Several manufacturers also donated gold leaf supplies.

The communion rail at St. Alphonsus in New Orleans.

St. Alphonsus Church and St. Mary’s Assumption Church are both listed on the National Registry of Historic Buildings. Built prior to the Civil War, more than 150 years ago, these churches were originally decorated by European artists and craftsmen. Their beauty and exquisite craftsmanship rival the splendor and majesty of Europe's finest churches.

This year more than 25 gilders made significant progress on the project, laying more 1000 sheets of gold leaf. Much of the gilders’ time was devoted to the restoration of 18 carved walnut panels in the communion rail. 

  Close up of one of the carved walnut panels.

To preserve the historical integrity of the decoration, the panels were first sent to a conservation lab, to determine the methods and materials originally used.  In examining the panels, the lab discovered several layers of lead-based paint.  Removal of the peeling paint required the specialized services of an accredited lead abatement company. The federal EPA requires that lead paint is removed in such a manner that lead dust does not contaminate the environment.  Removal of the paint according to EPA guidelines was a major expense of the restoration project.

The above photo shows the deterioration of the paint system. Restoration of the historic church requires the safe removal of the lead-based paint.

After the panels were safely stripped, they were repainted with a white oil-based paint.  The analysis of the conservation lab had determined that gold leaf had only been applied to the raised portions of the carving.

Gilders painstakingly painted an oil size tinted yellow to the raised surfaces. Note the yellow size in the photo below.  Size is the adherent that bonds the gold leaf to the substrate. Coloring the size allows the gilder to see where the size has and has not been applied.

Dr. Francis Lestingi of Signs of Gold in Buffalo, NY applies gold size to one of the communion rail panels.

After the oil size comes to tack, pieces of gold leaf are applied and then carefully tamped into place with a soft mop  brush. The excess gold is gently brushed away.

The finished panel prior to installation.

Are you wondering what happens to all of the little bits and pieces of gold (called skewings) following application?  The excess gold is collected and sold back to the manufacturers of gold leaf.  Shown in the photo below is a special hand-held vacuum unit. The OSOGS-VMU (Official Society of Gilders Skew Vac Mobile Unit) will be available for purchase soon on the Society’s website (www.societyofgilders.org).  The skewing vacuum is strong enough to pick up the pieces of gold without vacuuming heavier debris.  

While the group has made significant progress this year, restoration is far from complete. If you would like to learn how you can participate on next year’s project, write to Francis Lestingi at Francis@SignsOfGold.com. 

Vinyl Application Videos

Squeegee Technique. Nothing is more basic in vinyl application than the squeegee. But some squeegees work better than others. And there are right ways and wrong ways to use this simple tool. This video clip reviews squeegee selection, squeegee care and squeegee technique. Click to Link

Wet Applications. Dry applications are typically recommended for most vinyl applications. For those exceptions to the rule, this instructional video explains the right way to perform a wet application. Click to Link

Application of Window Graphics. Installing vinyl graphics on glass can be challenging, because the adhesive aggressively grabs onto this high energy surface. Repositioning graphics on window is generally difficult, if not impossible. This instructional video explains how to dry apply window graphics right the first time. It also describes the necessary steps required for surface preparation. Click to Link

Transferring Frosted Window Graphics Films.  Because frosted window films are highly textured, transferring cut vinyl graphics can be problematic. This video provides direction in selection of the right application tape and how to apply these films quickly, easily and without problems. Click to Link

3-Step Surface Prep. This instructional video describes how to properly clean the surface of a vehicle before applying pressure sensitive vinyl graphics to a trailer or doing a full wrap of a car or van. This three step surface prep involves detergent washing, solvent cleaning and a final wipe down with IPA. Click to Link

Vinyl Application Over Rivets. Applying vinyl graphics on vehicle surfaces with rivets is challenging for most sign makers. Vinyl failures to these surfaces are all too common. This video demonstrates some tips and procedures, used by professional decal installers, which will make these demanding applications easier and more trouble-free.  Click to Link

Vinyl Application to Corrugations. Learn how to apply vinyl graphics to corrugations in a relaxed state. Forcing films into the valleys of corrugations puts too much mechanical stress on the film. Sooner or later, the vinyl will lift or tent in valleys. Click to Link

Applying Air Egress Vinyls. Vinyl films with air egress release liners have almost eliminated bubbles and wrinkles from applied graphics. Air egress release liners with their highly textured surface structure are problematic. Not much will stick to these liners other than the vinyl film. At RTape our best premask solution for air egress liners is a special Conform® tape called 4761RLA. Click to Link

About Jim Hingst: 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 150 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 325 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. 

© 2016 Jim Hingst