ProGrade paint mask is great as a stencil for oil gilding. This article describes a simple step-by-step process that a novice can use to produce professional results...
Paint mask
is not just for painted graphics. It’s also great as a stencil for oil gilding. If you have never gilded before, just follow the simple step-by-step process
in this story and you can expect professional results.
The above job was produced using a
hand-cut paint mask stencil.
Before
beginning work, clean the surface. If you are gilding a vehicle, clean the
surface just as you would before applying vinyl. See 3-Step Prep for Vehicle Graphics and review the cleaning procedure
described. For other surfaces, all you
will need to do it wash the substrate with mild detergent and water and then
wipe the surface down with isopropyl alcohol.
To facilitate the application of the
paint mask, peel back about four to six inches of the release liner exposing
the adhesive side of the film. Crease the liner and tack the paint mask in
place. Begin squeegeeing, gradually removing the release liner from the paint
mask as you apply the film.
You can
plotter cut your stencil just as you would plotter cut any other vinyl graphic.
Or you can hand cut the design. After prepping the surface, apply the paint
mask vinyl to the substrate. If you are hand cutting the pattern, you can
layout the design, drawing directly on the paint mask. You can also pounce your
pattern directly onto the paint mask as shown in the photo below. Or you can use
Saral graphite transfer paper to transfer your design to the paint mask.
After drawing the design on drafting
paper or brown kraft paper, perforate the paper using a tool called a pounce
wheel. Pouncing on corrugated board prevents dulling of the pounce wheel
points.
After perforating the pattern, turn
the paper over and lightly sand the surface with 100 grit sandpaper. Sanding
will open up the holes.
Using a pounce pad, which is filled
with charcoal dust, transfer the design onto the paint mask.
After
cutting the paint mask, weed the areas which will be gilded.
For really intricate designs, plotter
cut the stencils. If you are plotter cutting, you will find that you can cut
very fine detail with the ProGrade™ paint mask with no problem.
About Gold Size.
Size is the adhesive that a gilder uses to bond either gold leaf or metal leaf material to the substrate. Different formulations of size are available. 12-hour and 3-hour gold size are two types. When you absolutely, positively must get a gold leaf job done the same day as you start, you should use a fast size, such as 1-Shot #4008 Fast Dry Gold Size. Generally, 1 Shot Fast Size sets up in about an hour and has an open time of one to two hours. Open time can vary greatly, so you need to test how fast the size sets up.
Other
popular brands of size are LaFranc, Rolco and Luco. Although both water-based
and oil-based size is available on the market, oil-based products are typically
used for sign applications.
When working
with 23-karat gold, I recommend a slow size, such as the Lefranc 12- hour
size. For most commercial project the
slow size has a number of advantages. When
gilding with real gold leaf, using a slow size generally produces a much
brighter gild than when using the fast size.
The longer window of workability that you have with slow size also
allows for those inevitable everyday interruptions.
Charbonnel 12 Hour Gold size
● Ready for gilding in 12 to
14 hours after application.
● Hours of open time allows
more time for gilding large areas.
● Superior bond for years of
durability.
● Used on the flame for the
Statue of Liberty.
Size right
out of the can have contaminants which can ruin your gold leaf job, especially
if you are using the really thin, real 23-karat leaf. Before using it, strain
out the congealed globs of dried size, using a paint filter or cheesecloth.
The fast size that we used for our
projects was extra chunky variety with plenty of contaminants. Before we started work, we had to strain out
the globs.
After straining the size, many sign artists tint it, adding a few drops of imitation gold lettering enamel or a couple of drops of a blue universal paint colorant. You can buy this universal colorant at your local hardware or paint store. If you are gilding on a black or other dark substrate, the addition of the lettering enamel or colorant will give the size some contrast with the background. Otherwise, you may not see where the sizing is on the substrate.
Before painting the sizing, resqueegee the paint mask to ensure that the edges of the vinyl masking are securely in place. That way the size will not bleed underneath the masking, which will result in a ragged edge. Of course, if bleeding occurs, you can always disguise the ragged edges with a pinstripe.
After resqueegeeing the paint mask, the next step is to wipe down the open areas of the design not covered with the mask. Many sign makers will use a tack cloth. An alternative is to wipe the area with a damp cellulose sponge. You can find these sponges at hardware stores. Wiping with a damp sponge accomplishes two results. First, it kills any static. And second, it ensures that the substrate is dust free.
To apply the size, many gilders use a lettering quill. As an alternative, try using a fitch, such as the "The David Hightower Fitch" by the Andrew Mack & Son Brush Company. This white hog bristle fitch has much shorter hair length than their standard fitch brush. With its shorter length, the hairs are stiffer, and consequently do a better job of getting the size into any tight corners, and are better at brushing out any puddling. Many fitch brushes are cupped. That means that looking from the side of the brush that its tip has a rounded shape. The advantage of the cupped tip is that you have better control with the brush; it also allows you to feather the sizing or paint.
Using a stiff brush, such as a “David
Hightower” fitch, brush on the gold size.
Before applying the size, pallet your brush just as you would if you were using paint instead. Many gilders use the size straight out of the can, never thinning it. If you thin the size, be very careful. Overthinning can weaken its bonding strength.
For good adhesion of the gold leaf, you only need to apply a light coat of size. Be sure that the sizing doesn’t puddle along the edges of the masking. Use a stiff fitch brush to mop up any excess size that accumulates along the edges and corners of the paint mask. If you get a speck of dust in your size, use the tip of your brush to pick it up and transfer it to the masking outside of your design area.
After applying the size, you can remove the masking. In this removal process, be very careful that the masking does not touch the sizing. The impression that the masking leaves in the size will show up in the gilding.
After the size is applied, carefully
remove the paint mask, making sure that you don’t touch any of the size with
the masking.
Generally,
it will take 40 to 180 minutes, more or less, for fast size to tack up enough
to apply the gold leaf. The length of time required for drying can vary greatly
depending on ambient temperature and humidity as well as varying from one
product to another.
Slow
size, on the other hand, is ready to gild after about twelve to eighteen hours
following application. This window of
workability, in which the size is ready for gilding, can extend for weeks. Another advantage is that slow size produces
a more durable finished product.
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 and the time it should be 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.
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 you 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.
When
working with gold leaf, cleanliness is next to godliness. Your hands are
usually contaminated with oils and sweat, which you easily transfer to the leaf
material. Any oil deposited on the leaf can act as an adherent for dirt. Always
wash your hands before working with gold leaf.
Avoid touching the leaf.
About Gold Leaf and Metal Leaf. Gold leaf is available at some sign
supply distributors. 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. Patent leaf is
gold leaf, which is bonded to the tissue paper.
“A
major difference between patent leaf and loose leaf is that loose leaf has
"rouge dust" on the tissue sheets, which prevents the gold from
sticking to the paper. The tissue paper between leaves of patent leaf doesn’t
(have rouge dust),” says Dr. Francis Lestingi of Signs of Gold and the Society of Gilders. “Also, patent leaf is always a lighter weight than loose leaf. I
like to say that patent is novice-friendly. That doesn’t mean that it’s a
substitute for loose leaf. Eventually to
do really professional work, you must learn how to gild with loose leaf.”
24k Gold Leaf Booklet (25 sheets /Transfer Type (Patent)
Patent leaf is a gold leaf which has been stuck to a paper backing. The backing aids in the transfer and application of the gold leaf to the size. After the gold leaf has been pressed into the sizing, the paper easily releases form the leaf.
Variegated leaf, which is shown in the picture at the beginning of this article, is a type of metal leaf material, also referred to as composition leaf. Metal leaf can look like real gold, but it isn’t. Instead, it is an alloy or combination of metals, such as brass, copper, aluminum, and zinc. This foil material comes in loose sheets, 5-1/2” x 5-1/2”. Composition leaf is thicker than real 23-karat gold leaf and you can pick it up with your hands. To transfer the gold leaf into the size, you will need to use a special brush, called a gilder’s tip. Avoid using your hands.
Carefully
place the sheet of metal leaf over the size.
Use a soft brush to press the leaf into the size, taking extra care to
work the edges. If you are working with
the thicker composition leaf you can also use the heel of you hand to press the
leaf material in place. After the sizing has completely dried, the metal leaf
is permanently adhered to the substrate.
After
the leaf is positioned in place, some gilders will use a cotton ball or a soft
mop brush to gently press the leaf into the size and then brush away any of the
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.
Using a
soft, natural hair mop brush, brush away the excess metal leaf.
da Vinci Gilding Series 450 Gilder Duster Brush
● Similar softness to
squirrel hair at an economical price.
● Available in many
different sizes.
● Unique shape of the Quill
Mop makes it ideal for oil gilding.
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.
Humid
conditions might result in a residue of leaf outside of the design area. Gold leaf residue is also prone to sticking
to a freshly painted vehicle, which can outgas for as long as thirty days.
During this period the paint can be tacky.
Some
sign makers clean up the excess with a clean, lint-free rag dipped in wax and
grease remover. Be extremely careful if
you do this. If you touch the edge of the gilded area the wax and grease
remover, it will dissolve the size. Instead, try washing away the excess leaf
with cotton ball soaked in soapy water.
After
gold leaf or metal leaf is applied you can outline the design with pinstriping.
Before you do any outlining, you may want to clear coat the job. That way, if
you make a mistake, you can easily wipe away the lettering enamel with mineral
spirits without fear of damaging the gilding. A number of different types of
clear coats are used to protect gold leaf, ranging from acrylic top coats to
automotive urethanes. Before using any
clear coat, test it before using it on a job.
Additional Gilding Articles
Traditional Water GildingUsing Isinglass for Glass Gilding
The Art of Glue Chipped Glass Signage
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.
© 2015 Jim Hingst
Amazing how simple it can be to communicate with people and have them understand a certain topic, you made my day.
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