Gold Leaf

Gold leaf techniques are as old as the pyramids. Gold is pressed into extremely thin sheets, which are then applied to an appropriate medium on the surface to be gilded. On wood or plaster, the adhesive medium is often some sort of varnish, or sometimes enamel, allowed to dry until tacky. In bookbinding, egg whites are used.

In gold leaf on glass—in my opinion the finest product a sign painter can offer—the medium is a very thin gelatin wash made by dissolving gelatin capsules in water; the gold is applied to the whole area, the letters and graphics are backed up with an appropriate paint, and the unwanted areas are then washed clean.

Left: The entrance to the Olema Inn, Olema, California.

Right: tools of the gilder’s trade—
l-r, white gold, size brush, patent gold leaf, variegated leaf, pickup brush.
It’s clear from the wrinkles how fragile the gold leaves are.

A window gilder’s handling of the incredibly thin and fragile gold leaves is a study in caution and patience: the gold is picked up with a wide, thin brush (pictured) and then brought carefully near the surface. At the last moment, the leaf actually jumps onto the glass, landing, one hopes, where it is supposed to.

Needless to say, gold leafing outdoors in the wind requires special gold and a different technique.

Although gold leaf is more expensive than the vinyl products being developed to replace it, it still is unmatched as a statement of quality and style.

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