Gold Leaf........DONE!

[Stu in Tokyo]

Well, I have a couple of artsy pieces to do, here is the basic look.......

I want to do some inlay on the small cup, or bowl like part (Yes, I recently saw Jimmy Clewes DVD).

Looking for some tips on doing Gold leaf.

Cheers! (I hope the pic works!)

 

[TEP]

Nice piece of tree wood there Stu. As you've seen the video by Jimmy C there is not much else can be said, he sets it all out for you.

The only problems I have had is how delicate the leaf is, my hands are not as nimble as they used to be and I sometimes end up breaking the leaf before I get it on the wood. As long as you use the correct gear and take your time you should have no problems.

 

[Paul.J]

That looks one nice piece of timber.What is it,how big is it :?: :?:
I saw the NYW where Norm was doing some gold leafing on a sign he'd made.
Think you have to put some sort of adhesive on to take the plate,but he rubbed a potato on the parts where he didn't want the leaf to stick.
He just brushed the leaf on.
HTH.a bit :roll:
Paul.J.

 

[Stu in Tokyo]

Thanks Tam, the pic does not do the wood justice, the chatoyance in it is unreal.

Going to try some test pieces for the gold first.

Cheers!

 

[Stu in Tokyo]

Hi Paul

yeah, I understand you put the glue on, and let it almost dry, so it is tacky, then the leaf, then ball up a tissue and pad the leaf into the glue, let dry over night, and then use a soft brush to remove any of the leaf that is NOT stuck by glue.

Sound straight forward........ :roll:

I'll post pics of whatever turns out :shock:

The piece is about 12" in diameter, I guess, I can still slide the banjo under it so.....?

Cheers!

 

[CHJ]

Stu, the only time I have used Gold leaf it was in a loose leaf book, I picked it up with static on a hair comb then laid it across the area required before brushing with a soft brush.

I think this reference just about covers the various tricks of application.

Are you doing it 'off lathe' I would think it considerably easier.

 

[Stu in Tokyo]

Thanks Chas, that is a great link!

OK, got a "practice" piece done, I'm somewhat pleased.

The glue really dried too fast, so I had to do it twice, and the loose bits of leaf are certainly the wrong way to go, I need to get them on transfer paper.

To stop the glue from drying so fast, I really, REALLY need to build up a much better foundation of lacquer, fairly thick, that will stop the moisture in the glue from being drawn into the wood.





Looks OK, but I can do better.

The accents look too big on this small piece, but on the real one, the piece is quite a bit larger, so they should look OK.

Cheers!

 

[CHJ]

.....The glue really dried too fast, so I had to do it twice, ......

That's why the traditional is Gold Size, you can adjust the drying characteristics with solvents.

Do a Google on it:

http://www.google.co.uk/search?hl=en&q= ... arch&meta=

 

[mr]

I'm not a fan of spinny things generally speaking. but I do like that. Stu I've just realised that you're the guy who has the weird "sub car park" workshop which, when I first saw the pics on your website put me in mind of an, albeit low rent, evil genius lair. So kudos to you and as I say I do like that. Anyway. I'm going to go and get back in to that gokkle of geer.

cheers Mike.

edit

those black lines ...

I think I might make them "lighter" - more "elegant" perhaps. Something seems to have been lost from the image in your first post to the image in your latest post. Not sure what but it doesn't look like the same piece any more.

 

[DaveL]

Something seems to have been lost from the image in your first post to the image in your latest post. Not sure what but it doesn't look like the same piece any more.

Keep up at the back there! :roll:
Your looking at two different bit of wood, Stu, is trying out the gold leaf on a test piece before attacking the really nice job in hand.

 

[Stu in Tokyo]

Thanks gents.

Chas I'm going to get the right glue today.

Mr. yep, different piece of wood, practice piece. I have to really build up a good surface to put the gold on, that is also one of my problems. I need to buy the transfer paper gold as well.

I hope I get it all today and can give it another go later.

Cheers!

 

[TEP]

Hi Stu, if I was you I would use sanding sealer to seal the area before I applied the glue. It may take a few coats but cut each back hard with wire wool or similar until the surface if perfectly smooth.

I treat the job like spray painting, whatever is on the surface will show through, it has to be perfect before you attempt the leaf.

Never used actual leaf before, always used the 'transfer' leaf. It's fairly easy to handle.

 

[CHJ]

..... I need to buy the transfer paper gold as well...

Never used that myself, will it flex enough to be laid on the curved surface?

Last time I did any I was left with all the bits, I presume similar that you have, and relied on burnishing to 'mask' the joins.

 

[tnimble]

I have not (yet) done any gold leaf my self, but a mate is a profesional gilder.

First of all you don't need the transfer gold since you cannot control it over non flat surfacs. And you don't apply the leaf with your hads but a special wide and soft brush that picks up small pieces of gold leaf by means of static electricity.

Before applying the gold leaf the surface must be very flat any tiny bump is a weak spot and will losse its gold.

Also the gold leaf is very thin and partially transparant. The colour and colour variations of the background will shine through a bit.

To overcome the weak spot and provide a good background colour a yellowish of redisch clay is first applied to the wood. This clay is sanded and polished before applying small pieces of the gold leaf with special adhesive. The pieces of gold leaf has to be smaller when the surface to be gilded becomes more concave or convex. A soft brush is used to genlty press the gold leaf flat.

After the adhesive has dried there are special stones to polish the gilded part butthis is optional.

 

[TEP]

The backing on 'transfer' leaf is very light. It doesn't need to flex into all the curves or corners, the backing takes the place of the brush in 'real' gilding. You cut strips of transfer place it over the area and press very gently. Then just take the backing away.

I suppose it is like any gilding work, you always get small areas you miss, so you just go back over them with a small piece.

 

[Stu in Tokyo]

OK, so I finally finished this one, not as good as I'd hoped for but, the customer is asking, so I got to get it out the door...........









Cheers!

 

[CHJ]

Lovely piece Stu, certainly shows off the wood well and I doubt it would leave the shop if you were not just a little pleased with it.

The search for personal standards improvement often has a goal that others do not even consider.

After all, customer wants, customer gets, job done.

EDIT: just seen its mate elswhere, great wood figuring and the wall thickness looks impresive around the opening, bet it sounds nice if tapped.

 

[TEP]

Really nice job Stu, and good job with the leaf, but that reverse view is stunning. The figuring and colour in the timber is absolutely gorgeous. Wish I had some! :mrgreen: :mrgreen: What kind of timber is it?

 

[Paul.J]

That's something different Stu
Love the wood,but find the underside more interesting grain wise.
So can i ask why you chose the top side as you have :?: or was it just the way it turned out.
Paul.J.

 

[Stu in Tokyo]

Thanks fellas

Partly the way it turned out, the bottom did end up looking nice, but the top does have that crotch flame in it, and it does not come up so well in the pics but in persons, it is really stunning, a lot of chatoyance going on there.

Chas, I guess I'll have to post the second piece too..........







The wood for both pieces is Red Keyaki, which is also known as Japanese Elm. It if bloody rock hard when dry, very difficult to get a clean cut on it, as it gets thin, got to stop to sharpen the tools every minute, seriously, a real tool edge killer, but the wood is spectacular.

Cheers!