Verre eglomise process - Step by step

beginnings sketch and photos
I usually gild several glass panels at a time with transfer leaf (see below). In this way I have more choice when matching a suitable gold panel to the image or subject matter. The image is just as important for the effectiveness of the final piece of work and the two are married with careful consideration.

For 'First Snow', shown on the left, a glass panel was chosen from my stock. I was particularly attracted by its unusual patterning, incorporating two sheets of gold leaf and a slightly bigger size of 8x12cm. 

The image I had in mind for it was from a photograph I had taken of my daughter, age 2. It was her first experience of snow and the shot captured the moment she turned around, cold and fed up.
drawing onto glass
In preparation for sketching the photograph is printed in high definition on an A4 sheet of photo paper together with a smaller version, to help with scale. 

Once the sketch is finished it can be placed onto a light box, the gilded glass panel placed on top and secured with tape. The outline of the sketch can then be traced through the gold using a fine needle tool or hard pencil. However, this cannot always be achieved, as the light does not penetrate the more dense areas of gold. Viewed through a magnifying glass, most of the drawing is done straight onto the gold, using the sketch and photographs as reference.

Each time I begin drawing on the gold panel, there is always a sense of anticipation and pressure to do it right first time, but once I start, I relax and try not to worry about it...I tell myself, if it doesn't work out I can always do it again. Nine times out of ten this works and the drawings are completed with satisfaction.
first snow
Drawing straight onto the gold using a fine needle tool the etched side of the gold is the 'wrong' side, as the image will be viewed through the glass. 

As the process suggests the gold is engraved, etched away and the details and gentle shading can be built up using a combination of stippling and cross hatching. 

Once marks are made in the gold it is difficult to correct mistakes, although not entirely impossible. Gold leaf can be carefully reapplied to an area to cover a mistake, although, when working in such small detail it can be very risky. A 1mm spot of size covers an area of 5mm and if any grease residue is on the glass the gold will not adhere to the surface.

To work on the gilded glass panel I place it on a black velour covered board. This prevents the glass panel from slipping when working on it and can be flipped over regularly to view the marks created through the glass, as it progresses towards the final image.
first snow finiahed piece
Once I'm happy with the final image, it is signed. I use my initials, 'CMR', always remembering to sign in reverse!

To seal and protect the gold leaf, as well as enhancing the design, oil based paint or enamel paint is applied to the entire glass panel, covering the gold. The colour of the paint only shows through where there are gaps in or around the gold. 

I prefer to use either red or black paint as it gives lovely definition to the design and complements the gold. It is left to dry overnight and the finished picture will be revealed for the first time and can be framed. Once framed, an acid-free backing board covers the painted area of the picture and secured ready to display.

Gold was the first metal widely known to early humans and we consider the development of iron and copper-working as the greatest technological achievement to our early species - but gold came first. Its natural beauty, luster and great malleability, with a resistance to tarnish, made it pleasureable to work and play with for thousands of years.

Creating art with gold unearths a primative desire for this treasure and the particular medium of Verre Églomisé, is both challenging and enjoyable, with the potential to be developed in so many ways.

'First Snow' 8x12cm 22.5ct gold leaf

Gold Size

gold leaf applied to glass
So how is gold leaf applied to a surface? 
The adhesive for any gold leaf or Dutch metal leaf is referred to as ‘gold size’ (a type of glue) and is oil or water-based. 

Water-based size is a milky glue that dries clear and can be either hand mixed using water and gelatine or brought pre-mixed from a good retailer. As well as being used for gold leaf projects it can also be used for craft work, such as decoupage. 

Oil size is a thick, honey coloured medium that creates a tacky surface and can be used for both interior and exterior gilding.

When creating Verre Églomisé miniatures transfer gold leaf is used and placed on a glass panel with a thin and even layer of water-based size. The gold size is hand mixed using a traditional recipe, as the amount of gelatine to water ratio can be controlled or changed each time. If the gold size is just right the gold leaf will suck down onto the glass. Once left for a minute or two the tissue can be carefully lifted from the glass revealing the thin layer of gold, and depending on the strength of gold size and drying time, unique patterns form in between the gold leaf and tissue backing. A finished gilded glass panel must be fully dry before it is drawn onto and becomes the first part of the Verre Églomisé process.
Selecting an image to draw on any gilded panel is just as important for the overall effectiveness of the final piece of work and the two are married with careful consideration. To begin work on the gilded glass panel, it is placed on a black velour covered board. This prevents the glass panel from slipping and can be flipped over regularly to view the marks created through the glass as it progresses towards the final image. Once marks are made into the gold leaf, essentially removing it, it can be difficult to correct mistakes, although not entirely impossible. 

gold leaf

gold leaf
Gold leaf is produced in books of 25 sheets as ‘loose leaf’ or ‘transfer leaf’ and can be found in many good art and craft retailers across the UK. Both loose and transfer gold leaf measure approximately 80mm (3”) square and are manufactured in different gold grades in a variety of shades. (see below)
Loose leaf is extremely difficult to handle and will simply disintegrate to the touch, therefore, gilders tools are required to successfully manipulate and apply loose gold leaf.

These are; a gilders cushion, a gilders knife and a fine flat brush called a tip. The gilders cushion is a specially designed soft pad covered in vellum or swede and has a draught flap at the back, usually made from a stiff parchment, reducing any unwanted breeze that can send the gold leaf flying! A specially shaped, razor sharp gilders knife is used cut loose leaf to the shape you require, or manipulate the gold on the cushion, and a gilders tip made from squirrel or badger hair is used to pick the leaf up using natural static.
Transfer leaf is still genuine gold leaf but can be more expensive than loose leaf, as the gold is pressed into a backing sheet of acid free tissue paper. However, the added tissue backing makes the individual leaf easy to handle, without the use of gilders tools, and therefore great for beginners to the gilding craft. An alternative to genuine gold leaf is Dutch metal leaf, gold in colour but made from brass and silver from aluminium. It’s relatively cheap and ideal for experimentation. Dutch metal leaf can also be handled without tools, as the individual sheets are much thicker and cover a larger surface area, with each sheet measuring 140mm (5½”) square.

All the gold leaf I use, listed below, is made and supplied in the UK.
23¾ct Egyptian gold leaf: I use a high carat for creating miniatures and pendants. It has a lovely soft warm quality in which to draw fine detail onto.
22ct Moon Gold: (a mixture of gold, silver and palladium) An unusual soft grey with a hint of pink. 
18ct Lemon Gold: A lighter yellow gold
7.2ct White Gold: Very similar in colour to Silver, but warmer, and has a softer quality.

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