Gilding

Instacoll is a size (adhesive) for high-gloss, weather-resistant exterior and interior gilding. It can be used on nearly all substrates that have been properly prepared using standard methods to create weather-resistant surfaces. Do not use directly on glass outdoors. For indoor gilding it is necessary to use or to prepare a non-porous surface. Do not burnish the gold leaf with agate or other stone as this is not necessary to achieve a high-gloss surface.
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Preparing Bole (from dry bole)
Materials: Glue pot, glue, bole (dry cone), distilled water, wooden spoon[LIST=1][*]Soak 80 grams of the glue in one liter (about one quart) of cold water for about 30 minutes.[*]Warm up the resulting mass in a water bath until the glue is completely dissolved (See Tip No. 2). ...

According to Evgeniï Trubetskoï, "the mysticism of icon painting is primarily solar, in that word’s highest spiritual sense. However beautiful the skys other colors may be the gold of midday sun remains the color of colors and the miracle of miracles."[1]

In icon painting this divine gold is used in a special way. It is gold hatching; a technique of creating fine lines in gold over painted areas of an icon painting. It never looks like solid gold; it resembles, rather, an unearthly, airy cobweb of fine rays emitted by God and lighting everything around. When it appears in an icon, God is always suggested as its source. However, in the presence of divine illumination gold hatching often glorifies also the part of the scene that has already entered divine life and is seen as touching it very closely. For instance, it covers the throne and the brilliant robe of ...

By Angela Lucas

GOLD... This precious metal fascinated medieval society. It represented spiritual, transcendental light,[1] and expressed divine intelligence.[2] The medieval love of gold is exemplified during the Byzantine period, when the establishment of the Church inspired resplendent domes, mosaics, icons, and architecture—each brushed with the light of God. Illuminated manuscripts echoed these achievements in miniature, capturing minute reflections of medieval life and devotion. Gold became an intrinsic element of the illuminated page, and borders, initials, backgrounds, and letters provided many opportunities for spiritual expression.[3]

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A review of methods on applying gold leaf on illuminated manuscripts using raised gesso

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Contemporary Gilding Techniques on Manuscripts
A detailed, chronological study of manuscript gold decoration is a formidable task, far beyond the scope of this article.[4] How gold bases developed is also unclear; current written analyses of illuminated manuscripts omit specific references ...

Here are some gilding tips and tricks that can save you lots of time and trouble. Most of these tips are directly applicable to ...

Gilding is an art that requires dexterity, savoir-faire and skill, qualities that craftsmen obtain after years of experience. There are two basic techniques in applying gold or metal leaf to surfaces: oil and water gilding. Both techniques employ a glue to adhere the leaf to the substrate, but the difference lies in the type of glue. This technique uses a water-based glue or size.
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