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Gilding Your Art
What is a Gilding?
Gilding is a decorative technique for applying a very thin coating of gold to typically solid surfaces, such as wood, metal, or ceramics. Gilding methods include applying and gluing by hand, typically gold leaf or another metal leaf, or painting with gold flakes or particles, also called “shell gold,” onto a surface.
What is the purpose of gilding?
Gilding gives an object a gold appearance rather than using an actual solid gold object. In addition, gilding provides a solid, flat (two-dimensional) surface for artwork to contrast with the three-dimensional illusion of space developed in the painting.
What is gilding with silver called?
Gilding with silver is called “vermeil” or “gilt silver.” The technique of gilding with silver is similar to applying gold leaf but does not require the same delicacy and skill as the silver leaf is thicker and heavier than the gold leaf.
Learn More About Gilding
December 01, 2014
Poliment—also known as bole—is a clay-like substance that is used as a base for gilding. It is applied to a prepared surface, usually gesso or chalk ground. Gold or silver leaf is then applied over this base. The poliment enhances the tone and lustre of the gold during the polishing/burnishing process. Selhamin Poliment is a specially prepared and refined bole for priming surfaces for gilding. The best raw materials are combined in the right proportions and processed according to traditional methods. Selhamin Poliment Clay shows its special abilities in gilding with gold, white gold, silver and platinum. Especially appreciated are its characteristics in applying silver and gold leaf on surface for contemporary and traditional techniques. The richness of color nuances that can be obtained is a delight for artists. This article explains how to prepare and apply poliment and describes the gilding and toning and patina of gilded surfaces.
June 10, 2013
June 10, 2013
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 the glorified Christ, and the mantle of the Virgin as she ascends to heaven. Angel wings and the tops of paradisiacal trees are often touched with it. In some icons, gold hatching appears on the pointed domes of churches, never covering them, but making them glitter with rays. The ethereal quality of the rays of gold give the surface of the icon the appearance of live, glowing, moving
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