The design for these sconces where inspired from antiques seen in a Tuscan Villa. Cast in plaster, they are gilt using Dutch Gold (or composition leaf) and antiqued to match an existing antique chandelier. Though Dutch Gold is not genuine gold, rather a composition of metals; primarily brass, the final appearance is a
near flawless match.

Transform everyday objects into heirlooms. The process known as Gilding simply means the application of gold, silver and copper leaf to a surface that has been properly prepared with an adhesive known as 'gilder's size'. 

Step 1:  Cover working surfaces and floor areas with drop cloths or newspaper.

Step 2:  Remove dust and dirt with a tack cloth and prime as needed. In this instance we are using  Benjamin Moore's Fresh Start Alkyd Primer. Refer to the artSparx basic preparation resource for additional tips and techniques…. 

Prime the object completely and allow to dry.

Step 3: Once the primer is fully dry, you are ready to apply the base color for your leaf. Traditionally a deep terre cotte color is used, such as Benjamin Moore color # 2090-30. 

Applying the 'bole' color.

What is bole?

This base color is also referred to as the 'Bole' color. Traditionally, bole was made from clay. Today paint is typically substituted. One can experiment with different colors and your choice will affect the overall appearance of the finished product. For example, the traditional terra-cotta color adds warmth to both gold and silver leaf. A black 'bole' color creates a hard, cold look - often appropriate for Art Deco pieces, and the like. A yellow 'bole' color evens out the overall appearance, and diminishes any cracks or 'holidays' on the gilded surface.

Step 4: Apply your 'size'. Size refers to the adhesive used to adhere the leaf to a surface. There are different kinds of size adhesive dependant on the finished look you desire. For most common gilding practices a 3 hour, 'quick drying' size is all you will need. It is an oil based product and can be cleaned with mineral spirits. Apply carefully and evenly, working the size to an even film as much as possible. When competed, clean your brush with mineral spirits.

A fully 'sized' sconce. Keep an eye out for 'pooling'.

When applying 'size' to an object that is ornate or has decorative features that are raised, pay attention not to 'pool' the size in the crevasses. Work it out evenly so the size dries evenly over the entire piece.

Important:
Do not apply the leaf until your adhesive 'size' is at the proper 'Tack'.

Step 5: Testing your tack.
This is an important phase, and determining the proper tack will result in the professional finish your are after. As your 'size' dries it naturally goes from a wet to a dry state. The proper time to apply your leaf is when the 'size' is not wet but 'tacky', just before it dries completely. 3 hour 'quick drying' size comes to 'tack' in approximately 1.5 to 2 hours, reaching full dryness at around 3 hours (hence it's name '3 hour quick drying size').

The gilder testing for 'tack'.

Use the back of your knuckles to test for the proper 'tack'. If the hairs on your fingers slightly tug then your tack is ready. Alternatively, you can very lightly drag your knuckles over the surface. Don't apply any pressure. If you hear a 'squeaking' sound, then you are ready to apply your leaf. If it is clearly quite sticky, wait a while longer and test again. Don't worry, with some practice, you will learn the subtleties of determining the proper 'tack' to begin gilding.

About humidity: Your adhesive size can dry at varying times due to atmospheric conditions such as heat and humidity. Therefore, it is important to keep an eye on the drying process. If you leaf to soon, the leaf will get sticky and sag, and the size may never get a chance to dry out through the leaf. If you wait to long, the size will dry up and your leaf will not properly adhere to the surface

Hold firmly and carefully. Attach leaf to surface.	Move methodically up the leaf to rap over and around surfaces.

After the leaf is laid on, rub thoroughly over paper to insure adhesion. Avoid touching the leaf with your fingers.	Gently remove the paper, leaving the leaf on your surface.

Step 7: Holidays. Fixing them. 
A 'holiday' is a gilders term that refers to an area were the leaf did not initially adhere. Simply use some left over leaf and apply to area.

Holidays are caused by 2 things. First, in the application process, the leaf just did not stick to the 'tacky' surface. Simply apply fresh leaf and rub down.
Secondly, when you applied the 'size' in step 4, you missed an area leaving a bald spot, and there is no adhesive for the leaf to stick to. After you have completed leafing the entire surface, including patching in all holidays, re-apply more 'size' to the missing spots with a small artists brush, allow to come to 'tack' as before, then apply leaf to the newly sized area.

Step 8: Burnishing and finishing off

Using fresh tissue paper, rub the surface gently and evenly. This insures all the leaf is properly rubbed down, with no air holes. 

Using a soft brush to remove excess 'skewings'.

Using a soft gilders brush, such as fox hair or rabbit hair, brush the surface removing any loose leaf (known as skewings). Cotton balls may also be used. Do not use regular painters brushes, such as bristle, or synthetic fibers, because they will scratch the leaf and dull the luster of the finish.

Step 9: Sealing with Varnish

Protect the leaf with a coat of oil based varnish, Satin or Semi-gloss sheen. This seals the leaf, protecting it from moisture and air. It also acts as a barrier coat between the leafed surface and the antiquing glaze that soon follows. Clean your brush with the appropriate thinner.

This is an important step. If you were to apply an antique glaze over untreated leaf, the leaf would become stained and dull, losing the highly reflective quality of genuine gilded surfaces.

Step 10: Antiquing and aging your leafed surface.

On a palette, mix some acrylic Raw Umber with Raw Seine. You can experiment with the proportions. 2 parts Raw Seine to 1 part Raw Umber will work fine. Dilute with water.

Apply over surface, smoothing out as you go. In case the glaze 'beads', allow to set momentarily then smooth out as before.

Using a dry rag, buff up 'high' points, allowing the recesses to remain darker, mimicking the processes of time.

Step 11: Clean up. Vacuum loose leaf and clean working area.

Step 12: Dispose of used material appropriately. 

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