Gilding, it turns out, is awkward. I was trying my hand with the fake stuff which, I’m told, is quite a lot different from real gold. I want to get a bit steadier of hand before I start flittering real gold about the place though. In general my main complaints with my work have all to do with how steady my hand is – how to get a fine line, how to get the curve on a swirl without the paint all blotching at the wrong point of the swirl, that sort of thing. Oh and trying not to blob everything. I got a little better at remembering to erase the pencil lines I drew to guide myself this time. I presume if I were steadier of hand I might also be able to apply the size (commercial stuff to go with the fake gold) more evenly, so I don’t get the ragged edges and the uneven lines. It is also possible I may have rushed the 15 minutes I was advosed to leave the size to dry as well, I wasn’t erally timing it properly.
Things to hate: the way the sheet of leaf clings to *everything* and breaking off unexpectedly as you try to move it from protective sheet to the piece you’re working on. By the end of the evening I was finding little bits gilding strands of my hair (possibly an improvement on the grey I suppose), my cleavage and the tip of my nose.
Things to love: the satisfying way the gold clings to properly prepared size, the lovely glint of the fragments you brush off gathered at the bottom of the easel and how much shiner an illuminated piece looks with gold.
I know paint doesn’t really go on the gold leaf, but I messed about with it anyway for the kicks.