Three more gilding questions

[CalicoFraming]

Three things are annoying me a lot, any suggestions would be really welcome.

1. gesso clogging up the fine detail on mouldings. I don't have a spray facility, it's getting brushed on, and I'm trying not to lay it on too thick where there are fine details, but inevitably these details lose their definition. Is there a good way to limit this problem?

2. bridging - do you have any advice on avoiding, or at least minimizing, bridging

3. faulting - if I'm water gilding and there's some faulting to be done (there always is) then fine, I can patch it up, but if later I want to give the gold a rub, the patched faults show up where they've overlapped. I don't see how I can cut tiny pieces of leaf to the exact size to avoid overlap, so what's the answer? Just rub those patchy bits a bit more till they blend?

grateful as always for your advice

[JFeig]

1. There has always been a loss of detail with the addition of a gesso layer to a frame surface. Hundreds of years ago specialized carving scraping tools were developed to resharpen the details after gesso application. After the gesso is semi dry a fine mist of water is sprayed on just before the recarving is done to soften the surface slightly. You can also sponge the surface prior to recarving.

2. The best way to avoid excessive bridging is to plan ahead for the placement of your leaf. You did not hay if your intended surface is to be an antiqued surface or a modern (clean) surface. In an antiques surface much of the bridging gaps can be covered with toners and distressing. In a modern finish, leaf placement is more critical. I have seen experts who can eliminate most bridging by "walking" the leaf into place with their hand movement. It is literally amazing to see it done!

2. and 3. Practice Practice Practice.

[Timh]

Hi There

applying gesso by brush will always fall and clog up detail so getting an even coating is very difficult.
As Jerome mentions you can use different shaped pieces of metal to re shape the profile and the old age woodcarvers wood sometimes have frames back to them to re-carve.
If not, sandpaper wrapped around pieces of wood can help.
The more time spent on re cutting/sanding the better the end result

as for bridging issues, once you have laid the leaf onto the water it will still remain moist for a good few minutes. Look for the breaks and fault as you go pressing down very gently with a piece of cotton wool. It has to be good quality wool or bits come off. It takes some practice but it is tried and tested in our gilding rooms.
The other way, if you discover after the area is dry is to smooth it back with a damp cloth and re gild the area again- gets a bit expensive though.

what grade of gold are you using?


Tim
www.kingswoodframes.co.uk

[CalicoFraming]

Thanks both of you for your replies to this.

Can I just go back to the query about faulting? Where a fault does need patching because it can't be disguised, where the piece of leaf used to repair the fault overlaps the borders of the fault, it's effectively double gilding those parts, so that when I come to rub the gold back with wire wool or whatever, those areas start to stand out against the thinner, single layer of gold. Does that make sense? So I'm wondering what a good strategy is for dealing with this. Any suggestions would be much appreciated.

Thanks!