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Double Gilding
Member wrote:
I have a gilding-with-painting question, not just paint – but it is on a painting so I’m hoping it is ok to post it here. I have a somewhat complex question about double gilding. I’m working on my first portraits with gold leaf. The substrate is Raphael zinc-free oil primed linen attached to aluminum panel using Natural Pigments adhesive, then I painted the first 2 layers of the portrait in oil, then I attached the gold leaf with Charbonnel LeFranc oil size (only attached gold on the linen I hadn’t painted, I masked off the painted area first, which I didn’t do when I tried to fix it which is why there are little gold bits but that was just the 1st layer and I will paint more once the gilding is done). I’m using Japanese Enzuke 22.66K loose leaf in preparation for a commission where I need to use Japanese leaf. I ended up with a few badly gilded parts, so I put more LeFranc size on those places and added more gold leaf, but as you can see in the pictures, those spots are very obvious, not even interesting, and I want it to be a very clean smooth background. I did a search on a Facebook gilding group and read that this happened because those spots are double gilded and that to prevent this, I’d probably have to gild the whole thing again. But now I have spots that are double gilded with the majority single gilded, so if I gild the whole thing again, won’t the same spotty areas happen because those will be triple gilded and the majority will be double gilded? A frame maker said that I should “smooth gilded area with 0000 steel wool to blend in all leafing, then seal with unwaxed shellac. Very lightly wool again. Tac off, apply Dux fast oil size, leaf again” which seems like pretty good advice but I would love more advice if possible. Is there any reason de-waxed shellac would be bad on top of oil primed linen? Is there any method that would be better? Remove all the gilding completely all and start over?
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