Two Tone Glass Gilding

Learn how to  create a two tone contrast between a high gloss mirror finish and matte finish when glass gilding.

By Jim Hingst @hingst_jim

Because the mirror finish of gold is highly reflective, gilded letters on glass are often illegible. To improve the readability, gilders generally will outline the letters in a dark color such as black to contrast with the gold.  Another technique to improve legibility is to combine water gilding, which produces a highly reflective mirror-like finish, with matte finish centers.

In the project reviewed in this article (see the photo below), I will combine water gilding over dried and burnished fast size to create a two tone contrast between a glossy finish and matte finish.  This is only one of many techniques used to create this two-tone effect.

Cutting a Paint Mask Stencil

If you have no experience in hand painting, the easiest way to paint outlines on a window is to use paint mask as a stencil. Plotter cutting makes the job even easier still. But you can also draw you pattern directly on the paint mask and hand cut the film. Since you work on the inside of the window, draw and cut everything in reverse.

Not all paint mask vinyl films are the same.  Most of the paint masks on the market utilize an inexpensive monomeric calendered vinyl.  If you use a polymeric-blend film, such as RTape ProGrade™ paint mask you will save yourself some grief.  Whether you are cutting with a plotter or cutting by hand, the polymeric films cut like the proverbial hot knife through butter. The advantage is that you can cut much finer detail and these films weed easier, too.

Plotter cutting makes the job even easier still. But you can also draw you pattern directly on the paint mask and hand cut the film.

Surface Prep for Glass Gilding

A critical step in glass gilding is surface preparation. If you don’t clean the glass properly, the gold won’t stick and neither will the paint. Cleaning is a multiple step procedure. This detailed process is described in my story, Surface Prep for Glass Gilding..

Clean the glass thoroughly as described in my story: Surface Prep for Glass Gilding.

After the glass is thoroughly cleaned, apply the paint mask to the window.  In applying the film it is important that there are no wrinkles at the edges of the open area of the stencil. If there are, the paint will leak at these points and you will need to clean up the edges. After you remove the application tape from the paint mask, you must resqueegee the film, so that the edges are secure. This is a good habit to get into regardless of what type of pressure sensitive graphics you are applying.  

After you remove the application tape from the paint mask, you must resqueegee the film, so that the edges are secure.

Painting the Outlines

Using a mixture of black Japan paint,  1 Shot lettering enamel and a little quick rubbing varnish , I painted the outline. Japan paint provides a good, thick coating that dries fast. I mix in some lettering enamel and quick rubbing varnish so that the paint flows smoothly.  

Inside the outlines in the middle of the letters, I painted 1 Shot Fast Size. Unlike the water size, an oil size is not perfectly clear. Water size produces a mirror finish. The oil size disperses light, creating a matte appearance after I water gild the numbers. Tinting the oil size with a couple of drops of lettering enamel can also create an interesting effect.

You can further accentuate the contrast by using different colors of gold.  18 karat Lemon gold, which is 75% gold and 25% silver is often used for the matte finish. Its hue is noticeably different that 23 karat gold.

For oil gilding on glass you can use either a fast size or you can use quick rubbing varnish, thinned with turpentine. Both mixtures will come to tack very quickly in about twenty to thirty minutes.  About ten minutes after painting, while the paint is still wet, remove the paint mask taking care that the mask does not touch any of the size.

Using a mixture of black Japan paint,  1 Shot lettering enamel and a little quick rubbing varnish , I painted the outline.

After the Fast Size was completely dry, I very lightly brushed the size all in the same direction using 0000 steel wool wrapped around the tip of a wooden BBQ skewer (see the photo below).  Easy does it in this step. You do not want to abrade the size off of the glass.

Using 23 karat Glass Gold, I will water gild the entire area inside the outlines. The areas which were coated with Fast Size will have a matte appearance. Everything else will have a mirror finish.  

Gilding glass is not generally affected by the weather because applications are done second surface on the inside of the window. Sub-zero temperatures, as we occasionally have in Chicago and other parts in the North in January and February, can be a big problem.  If ice forms on the inside of the window, there’s nothing that you can do other than wait until temperatures rise. At extremely cold temperatures the water size will freeze and the gold just won’t stick. If you’re thinking about heating up the window with a torch or a heat gun, forget about it. Bad idea. You’ll just end up cracking the glass.

The areas which were coated with Fast Size will have a matte appearance. Everything else will have a mirror finish.

Glass Gilding

Glass gilding requires very few tools. Tools and supplies include a gilder’s tip, gilder’s knife,  water size, a water size brush, hospital cotton and, of course, gold leaf. When you are buying gold leaf, specify Glass Gold Leaf. My story, Gilder's Tool Box, describes the tools that you will need in detail. To make the water size refer to my recipe, Water Size Recipe for Glass Gilding.

My story, Gilder's Tool Box, describes the tools that you will need for this project.

Whereas oil size used in surface gilding is the consistency of paint and is applied only to the area to be gilded, water size is “watery” and is applied to the glass above the area to be gilded.  The water size is applied with a special brush, called a flat wash brush or size brush, which allows a steady stream or sheet of size to flow or run down the side of the glass. In applying the size, don’t hold back.  Liberally brush on the size above the area to be gilded so it streams down the side of the glass. First flood a coat of size over the entire area. Then reapply the size to the area that you are working on.

After wetting the glass surface, the next step is to apply the gold leaf.  This process requires that you learn how to use a gilder’s tip, a special brush designed to transfer the leaf to the area to be gilded.

The old timers would brush the gilder’s tip against their hair to pick up some oil. The oil on the hairs of the brush would stick to the gold so you could put each piece in its place. An alternative method to charge the gilder’s tip is to brush the hairs of the brush between the back of your hand and your cheek.  

In laying sheets of gold leaf in place, work from the left to your right, if you are right handed. By working in this manner, it is less likely that you will lean against your work.   Left handed gilders should lay the leaf starting from the right and working left. Regardless of the sequence that you use in laying leaf, minimize the number of overlapping pieces as best you can to minimize any noticeable seams in the gilding.

In applying the leaf, begin at the top of the letters. After completing the top row, lay the subsequent sheets below  the preceding ones.  If the gold leaf does not lay perfectly flat, lightly blowing on the gold leaf can help smooth the sheet.  Liberally applying more size above the wrinkled piece and letting the size flow between the leaf and the glass can also straighten the sheet out.

“Watch what you’re doing when you apply a second wash of size,” says retired glass gilder, “Bazooka” Joe Balabusko.  “Too much wash and your gold can slide down the glass.”  Once that happens, it’s virtually impossible to put the leaf back in place.”  If the gold leaf starts to slide out of place, you can sometimes stop the slippage by blowing puffs of your breath on it. Usually, just saying the letter “P” is all the air you need.  Touching the leaf with the gilder’s tip for a second can also help secure the sheet in place.

Applying a second wash of water size generally will also brighten the luster of the finish and strengthen the bond of the gold to the window. Often when the gold leaf is first applies over the water size wash, it will appear satiny through the first surface of the glass. Not to worry. As the size dries, the gold will tighten up and the finish of the gilding will become glossier.

“Don’t fret about any small wrinkles or holidays,” consuls Balabuszko. “They’re inevitable.  Most won’t be noticed when the excess gold is brushed away and patched.”

You won’t necessarily want to use full pieces of gold leaf, if a smaller piece will do the trick.  Gold leaf can be cut into smaller sections. To do this you will need a gilder’s knife and a gilder’s cushion. 

After the gold is dry, brush away the excess leaf with a cotton ball, powder puff  or a mop brush. If you use cotton, be very careful.  It may feel soft, but the fibers are coarse enough to abrade away the gilding from the glass.  A squirrel or badger mop brush may seem to be an expensive tool, but it is a worthwhile investment. Because of its softness, it is much safer to use.

Second Gild

After removing the excess gold, inspect your work for holidays.  Holidays are voids in the gilded surface.  There are two ways to repair the holidays.   You can either apply more size and gold leaf where it’s needed or you can do a second gild.  Often gilders will double-gild a glass sign, so the gold is extra thick. Doing a second gild produces a high quality job.  Just make sure that you are charging enough for the job to cover the additional time and material involved.

Backing Up the Gold Leaf

After water gilding, you need to back up your work, painting the backside of the gold with enamel. The paint recipes for painting outlines are also great for backing up gilding.   You can also back up your work using black back up enamel or Nazdar’s 59000 series black screen print enamel ink.

Black is not the only color used to back up the gilded letters. Other popular colors include yellow,  imitation gold, terracotta red, silver and bronze. Each color used to back up the gold imparts its own tone. “Black makes the gold  bold,” says Balabuszko. “Yellow makes it mellow, and red gives it a rosy appearance.”

I backed up my house numbers with a mixture of 1Shot lettering enamel, Ronan Japan paint and Quick Rubbing Varnish.

Gold leaf guru, Kent Smith, recommends that when backing up gold leaf with Japan paint that you add some varnish to the mix. According to Smith, the higher the concentration of varnish to paint, the tougher the paint will be. Ratios of Japan paint to varnish can vary between 1:2 to 1:4.  After mixing the components together, be sure to strain the mixture to eliminate any paint globs.

Make sure that the paint is thoroughly cured before removing the excess gold.  Paints dry faster during warmer summer temperatures and more slowly, when the weather is colder.

Varnishing the Glass Gilding

After the back up paint is thoroughly dry, the last step is to protect your work with window spar varnish. In coating the backside of your work, overlap the outline or the gilding by ¼”.  The varnish provides abrasion resistance and protects the size from any moisture that could attack the size.  Remember, that water size is water soluble.

There are all types of varnishes that sign makers use for glass gilding: Spar Varnish, Commonwealth Clear, Valspar varnish and polyurethanes.  All of these products work. What you use is up to you. My advice is to try the different products and see what works best.  Once you find a winning combination, continue to use it.

Conclusion: Other Methods to Create Two Tone Effect

Creating a two tone gild not only makes the lettering more visible and aesthetically more appealing.  If you are trying to create the illusion of a dimensional letter, such as a chiseled font, the two tone effect can give one facet of the letter a matte finish and other parts a gloss finish.  As I mentioned at the beginning of this article, the technique described in this project is just method. There are many different ways to produce similar two tone gilding.

Another way to add texture to glass gilding is to first dab on some varnish with a sponge or crinkled plastic film (such as a plastic grocery shopping bag). After the varnish dries, apply the water size and gild over the textured varnish. The textured area is then water gilded.  This creates a dramatic contrast in surface finishes.

Stippling a texture on glass is another interesting effect on glass, which creates an interesting texture.  For stippling, many gilders will mix equal parts of Damar varnish, quick rubbing varnish and Res-n-gel.  All three products are available at Letterhead Sign Supply.   Using either a stippling brush or a bristle brush, dab on the mixture in the desired area on the glass.

As the Damar Varnish is setting up, you can create textures in it. Using a stiff bristle brush or a stippling brush, you can create a stipple finish. 

As the Damar varnish is setting up you will need to rework the texture with the brush until the varnish thickens enough to hold a pattern.

You can also create a texture, which looks similarly to glue chipped glass, by working the Damar varnish mixture with either a clay shaper tool or the tip of a quill lettering brush or a wooden BBQ skewer. Depending on the ambient temperature, humidity and the viscosity of the Damar varnish the time it takes for the mixture to set up and hold a texture as you work the surface can vary.  Used alone, Damar varnish will never cure.  When mixed with Quick Rubbing Varnish, the mixture generally sets up quickly. Res-N-Gel is used to give the varnish some body.  When the varnish is completely cured it will harden like a rock.

A wooden BBQ skewer is a great tool for creating a swirl pattern, as shown in the above photo. Until the varnish thickens sufficiently, you will need to work the texture. Otherwise, the varnish will start to level out. (Tip: In working with either a stippling brush or skewer, hold the tool perpendicular or 90⁰ to the glass surface.)

The swirl pattern creates the illusion of glue chipped glass.

The letters of the sign above are gilded with 23K gold.

Close up of the texture.

Before the Damar varnish will completely cure, it will hold its tack for a while.  During that time, when the varnish has come to tack, you can gild directly on it.  Or you can wait until the Damar varnish hardens and then water gild the surface. Another interesting effect is to lightly dust the tacky varnish with PearlEx mica powders and then gild over that.

As the saying goes, there are many different ways to skin the proverbial cat.

To learn more about RTape ProGrade paint mask, click on this link.

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NEW INSTRUCTIONAL VIDEOS.  Five new videos have been added to RTape’s  YouTube channel. The following is a description of the new 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 here to view the Squeegee Technique video.

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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 here to view the Application of Window Graphics video.

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 here to view the Transferring Frosted Window Graphics Films video.

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