James Freeman on sat 21 jan 12
Getting toward the final stages of an important (to me) commission. I have
only one shot at this, as there is a firm deadline, so keeping my fingers
crossed.
Need to fire the piece upside down (round bottom). It is WAY too heavy to
even try firing on stilts, so no way to glaze the top. Plan B is to use
gold leaf,
which I have never tried before. I was wondering if anyone could point me
to a good online tutorial that they have used, or provide advice? Thanks.
...James
James Freeman
"All I say is by way of discourse, and nothing by way of advice. I should
not speak so boldly if it were my due to be believed."
-Michel de Montaigne
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
http://www.jamesfreemanstudio.com/resources
Eva Gallagher on sat 21 jan 12
Hi James - Steve Irvine does a lot of gold leaf and he has instructions on
his website - http://www.steveirvine.com/goldleaf.html
Just got back last weekend from his great workshop in Ottawa - a really
interesting person as he also has a passion for photography including
pinhole photography. Did you know that there is an international pinhole
photography day?
Eva Gallagher
Deep River, Ontario
http://newfoundoutpotter.blogspot.com/
----- Original Message -----
From: "James Freeman"
To:
Sent: Saturday, January 21, 2012 6:32 PM
Subject: Gold Leaf?
> Getting toward the final stages of an important (to me) commission. I
> have
> only one shot at this, as there is a firm deadline, so keeping my fingers
> crossed.
>
> Need to fire the piece upside down (round bottom). It is WAY too heavy t=
o
> even try firing on stilts, so no way to glaze the top. Plan B is to use
> gold leaf,
> which I have never tried before. I was wondering if anyone could point m=
e
> to a good online tutorial that they have used, or provide advice? Thanks=
.
>
> ...James
>
> James Freeman
>
> "All I say is by way of discourse, and nothing by way of advice. I shoul=
d
> not speak so boldly if it were my due to be believed."
> -Michel de Montaigne
>
> http://www.jamesfreemanstudio.com
> http://www.flickr.com/photos/jamesfreemanstudio/
> http://www.jamesfreemanstudio.com/resources
>
>
John McClure on sat 21 jan 12
Try=3D0Ahttp://www.gildedplanet.com/howtogoldleaf.asp=3D0Aor try a sign pai=
nter=3D
in your area.=3D0AJohn McClure=3D0A=3D0A=3D0A=3D0A________________________=
________=3D
=3D0A From: James Freeman =3D0ATo: Clayart@LS=
V.CE=3D
RAMICS.ORG =3D0ASent: Saturday, January 21, 2012 6:32 PM=3D0ASubject: Gold =
Leaf=3D
?=3D0A =3D0AGetting toward the final stages of an important (to me) commiss=
ion.=3D
=3DA0 I have=3D0Aonly one shot at this, as there is a firm deadline, so kee=
ping=3D
my fingers=3D0Acrossed.=3D0A=3D0ANeed to fire the piece upside down (round=
botto=3D
m).=3DA0 It is WAY too heavy to=3D0Aeven try firing on stilts, so no way to=
gla=3D
ze the top.=3DA0 Plan B is to use=3D0Agold leaf,=3D0Awhich I have never tri=
ed bef=3D
ore.=3DA0 I was wondering if anyone could point me=3D0Ato a good online tut=
oria=3D
l that they have used, or provide advice?=3DA0 Thanks.=3D0A=3D0A...James=3D=
0A=3D0AJam=3D
es Freeman=3D0A=3D0A"All I say is by way of discourse, and nothing by way o=
f ad=3D
vice.=3DA0 I should=3D0Anot speak so boldly if it were my due to be believe=
d."=3D
=3D0A-Michel de Montaigne=3D0A=3D0Ahttp://www.jamesfreemanstudio.com=3D0Aht=
tp://www=3D
.flickr.com/photos/jamesfreemanstudio/=3D0Ahttp://www.jamesfreemanstudio.co=
m/=3D
resources
pdp1@EARTHLINK.NET on sat 21 jan 12
Hi James,
Not an on-line Tutorial, but, just off the cuff, some reminescence anyway -
( As memory serve, or if memory serve! I have not done any in a while...)
It's straightforward enough for anyone with good Hand-Eye co-ordination and
or general higher Orders of Artisan experience/aptitude.
Whether actual Gold Leaf, or many of the substitutes...
Surface to which the Leaf is to be applied, must be clean and free of any
sublte Oils or Greases ( as say, occur from normal contact with human
Hands ).
One gently blows the open Book with a little puff of one's focused Breath,
to reach or expose the piece of Leaf one is about to use, and, one liftes i=
t
from the Paper using static-electricity one builds up in a small wide-ish
soft Artist's or Watercolor Brush.
The ground for the Leaf is prepared by using any good grade of Varnish,
'French Varnish' was the usual, but any good Varnish will do, which one has
thinned down a ways with a good grade of Turpentine, and, applied very
thinly and evenly then with a Brush or Brushes ( though not the same Brush
of course, one uses to lift and manage the Leaf )...and, one waits untill
the Varnish is dried enough to barely be just a-l-m-o-s-t slightly 'tacky=
'
to a dry, clean, finger tip.
The Leaf then is applied to this gently, using the soft 'Static Electricity=
'
Brush it is lifted from the Paper with, and, once smoothed out via the
Brush, is Burnished using either a prepared Agate or an Eye Tooth from a
Dog or Spouce or other medium sized or larger Carnivore/Omnivore, or, I
suppose, any sort of hard, smooth, dense, non-metallic object which has
about the right shape and size.
An environment having very clean Air and little to no Air in motion, is
best, since the Varnish as it is drying would be vulnerable to any
incidental and opportunistic adhering of Airborne Dusts or Insects or
whatever else, which could then be tedious to remove in time, or which if
left, may effect the surface of the Leaf being applied over them.
The Leaf then adheres instantly to the very very thin layer of Varnish ( an=
d
can almost seem to even leap on to it sometimes! ), and, does not adhere to
the area(s) having no Varnish - so, the care which is taken in applying the
Varnish, 'is' the design or boarder or definition when applicable.
One can ( or would ) use a traditional ( 'Squirrel Hair' ) Pin Stripe Brush
to apply the Varnish if intending to do Pin Stripes.
That's the crash course...
And, one would probably wish to practice first on little invented exercises
or 'Samplers' to become familiar with managing the details and method.
Phil
Lv
----- Original Message -----
From: "James Freeman"
> Getting toward the final stages of an important (to me) commission. I
> have
> only one shot at this, as there is a firm deadline, so keeping my fingers
> crossed.
>
> Need to fire the piece upside down (round bottom). It is WAY too heavy t=
o
> even try firing on stilts, so no way to glaze the top. Plan B is to use
> gold leaf,
> which I have never tried before. I was wondering if anyone could point m=
e
> to a good online tutorial that they have used, or provide advice? Thanks=
.
>
> ...James
pdp1@EARTHLINK.NET on sun 22 jan 12
Yahhhh, a careful re-firing with the use of a China Painters type of durabl=
e
Gold, would seem to be well worth experimenting with I think...
I am sure this would provide a better result in every way, than using Gold
Leaf in this application.
----- Original Message -----
From: "James Freeman"
> Got lots of great responses, both on list and off (way more
> off). Many thanks to everyone who responded.
>
> Not sure which way I will end up going. Gold leaf sounds easy
> enough, but several people suggested baked-on enamel,
> which sounds even easier. I'll have to head out to Hobby Lobby
> to see what they have to offer, then make a choice. Thanks again!
>
> ...James
Alice DeLisle on sun 22 jan 12
James,
An easier alternative that I have found is something called Brush 'n =3D
Leaf. It comes in silver and gold. It is in the form of a paint that =3D
doesn't require any particular skill to apply. You just paint it on. I =
=3D
bought it a an art store for painters but you can find it online. It is =
=3D
made by Amaco.
Alice DeLisle
wanderland@att.net
http://www.etsy.com/shop/IslandTextures
http://www.flickr.com/photos/alice_delisle/
James Freeman on sun 22 jan 12
Got lots of great responses, both on list and off (way more
off). Many thanks to everyone who responded.
Not sure which way I will end up going. Gold leaf sounds easy
enough, but several people suggested baked-on enamel,
which sounds even easier. I'll have to head out to Hobby Lobby
to see what they have to offer, then make a choice. Thanks again!
...James
James Freeman
"All I say is by way of discourse, and nothing by way of advice. I should
not speak so boldly if it were my due to be believed."
-Michel de Montaigne
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
http://www.jamesfreemanstudio.com/resources
On Sat, Jan 21, 2012 at 6:32 PM, James Freeman m
> wrote:
> Getting toward the final stages of an important (to me) commission.
>
Steve Mills on mon 23 jan 12
This is something we've occasionally done over here using Liquid Bright Gol=
d=3D
Lustre on glaze fired stoneware.=3D20
That particular Lustre we got from Heraeus.com. We found that on a gloss su=
r=3D
face they bonded particularly well fired to cone 013/014, not lower.=3D20
Steve M
Steve Mills
Bath
UK
Sent from my iPod
On 23 Jan 2012, at 04:44, pdp1@EARTHLINK.NET wrote:
> Yahhhh, a careful re-firing with the use of a China Painters type of dura=
b=3D
le
> Gold, would seem to be well worth experimenting with I think...
>=3D20
> I am sure this would provide a better result in every way, than using Gol=
d=3D
> Leaf in this application.
>=3D20
>=3D20
> ----- Original Message -----
> From: "James Freeman"
>=3D20
>> Got lots of great responses, both on list and off (way more
>> off). Many thanks to everyone who responded.
>>=3D20
>> Not sure which way I will end up going. Gold leaf sounds easy
>> enough, but several people suggested baked-on enamel,
>> which sounds even easier. I'll have to head out to Hobby Lobby
>> to see what they have to offer, then make a choice. Thanks again!
>>=3D20
>> ...James
marci Boskie's Mama =3D^..^=3D on tue 24 jan 12
> pdp1@EARTHLINK.NET wrote:
>Subject: Re: Gold Leaf?
>
>Yahhhh, a careful re-firing with the use of a China Painters type of durab=
le
>Gold, would seem to be well worth experimenting with I think...
>I am sure this would provide a better result in every way, than using Gold
>Leaf in this application.
---------------------
Its a different look ...
there are a lot of different firable golds available ( ALL fired in
the chinapainting range)
* Metallic gold ... a mica based paint .. some versions are very
sparkly, some more toned down and 'resemble' roman gold...
* Liquid Bright , the cheapest , tends to be kinda brassy looking..
VERY shiny on a shiny glaze, satiny on a satiny glaze
*Roman Gold ( or paste gold ) , expensive but this is the gold you
see on antique pieces.. Very rich looking.. must be lightly burnished
after firing...Can be brought to a high shine with an agate etcher ..
looks the same no matter the surface ... is sold in fluxed or
unfluxed versions ( if unfluxed, the box says so ... unfluxed is for
use for an already fluxed surface like raised paste... )
*Liquid Burnish .. a sort of cross between LB gold and Roman Gold..
Not quite as rich looking as roman ...
* powdered gold ...actual gold powder.. usually dusted on over LB
Gold or Burnish gold... VERY rich surface..
*gold leaf ....can be fired if there is a fluxed product under it to
act like a glue after firing.. ( chinapaint or flux ) ..Looks like
gold leaf... different sheen than Roman gold..
So a lot of what provides a " Better result" is actually more "
what sort of effect do you want?" ...
Ill be talking about this during my NCECA presentation with
photos so you can see the differences...as well as other unusual
effects that can be done lowfire ....( Id also be glad to talk in the
Clayart room if there is any interest ) ...
marci the chinapainter
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