Every project is a learning experience. These two carvings are just the experimental part of a different project. Several learnings happened here, but I’ll focus on only two, gilding the carved letters and ebonizing African mahogany. This is my first first-hand gilding experience, an activity that used to be one of the common activities of pre-vinyl sign painters.
A Gilding Story
While this is the first time I’ve applied gold, it’s not my first exposure. That was about 55 years ago when I tagged along with Dad as he painted a big “Monroe County Bank” sign on the front window of the building at Kirkwood and College in Bloomington Indiana. By some coincidence, that building is still a bank today. Back in the 1950s, it was the standard thing for a bank to have big bold gold leaf lettering outlined in black.
I don’t recall being there the whole day, but was certainly there for “the break-in.” (I think the statute of limitations has expired.) I know it was after three o’clock in the afternoon. That was closing time for the bank in those days. All of the front office people, tellers and such, had retired to the back of the bank. Maybe they were counting money?
Dad was just finishing the job, which is painted from the inside of the window, and wanted to step outside for a last inspection. As we went together and stepped down the 2 or 3 steps to the sidewalk, we heard a click. That would be the front door of the bank latching behind us. Yes, locked. Dang! His paint kit, complete with wet brushes was locked inside and he didn’t want to leave them overnight. We knocked on the door, and the windows, and the side windows, and the side door, and the back door, and the panel around the “night deposit” chute. No answer! We went to the soda fountain across the square and called from the pay phone. No answer!
No answers to any of those attempts … and paint brushes were drying. Dad searched his pockets and came up with a paper clip. Straightening it, he knelt down by the front door of the bank and picked the lock. We think, but don’t know, the lock on their safe was better than the one on the front door. It didn’t take long for him to wander to the back of the bank, rustle up a manager to tell him he was done. Then he collected his kit and we calmly left.
Forward to today, I’m working on a project that will have gilded lettering. These two plaques are how I learn. They were to test how much surface prep is needed for decent results. For the mahogany plaque, I left the lettering “straight from the gouges” and applied one coat of shellac. I used “1 Shot” Gold Sizing and 23K “patent” gold for these letters. The actual gilding process looks imposing, but is actually very simple (in principle). Apply the sizing, which is much like a slow drying clear enamel. Wait an hour and a half, or thereabouts, for it to get tacky. Then, apply the gold. “Patent” gold is gold leaf that’s adhered to thin paper sheets. It looked like a good thing to start with, as opposed to the other type of gold leaf which is individual leaves which are picked up by a static charged brush and transported to the tacky surface. Once the gold is applied, I use a soft brush to pat it into place and assure it stays put. The same brush whisks away the excess material. Simple. (Oh yeah, since sizing isn’t painted on perfectly, there’s excess to be carefully scraped away with an X-acto blade.)
My goal was to understand how much surface prep was needed for a smooth job. One coat of shellac isn’t enough! Every bit of grain detail, and carving awkwardness really shows. Makes sense; this gold is about 1/6 the thickness of plastic food wrap, really, really thin.
So for the ebonized piece, I carefully sanded the carving. (Did I ever tell you I hate sanding.) I then applied 4 coats of shellac and rubbed it to a smooth finish. There are still unfilled pores, big long ones, at this point. Yet, it is much smoother than the 1 coat attempt. That’s really hard to see in the photo. Taking good pictures of something glossy is another sort of challenge.
These two experiments show me what I need to do for better gilding. And, I’m sure John can chime in and give some pointers, having done a lot of gilded frames for his wife’s art work.
The sign I’m making is headed to a household where the people favor dark woods. It needs to be on a dark wood, not clear mahogany. Why not ebonize some mahogany and see what happens?
Where do we get ebonizing liquid? Make it. Fill an empty Smuckers jelly jar with white vinegar and stuff in a steel wool pad. Let it ferment for a week or two. Throw away whatever is left of the pad and strain the liquid. The result is a liquid that will stain many varieties of wood (cover your workbench!). Brush on a coat, let dry, repeat until happy. I liked the result after 3 coats.
WARNING: The stuff is NOT toxic, but it smells terrible and tastes worse. Keep it and your food separated and wash your hands after using it.
Once the wood is dry, the stain does not transfer to you, other objects, or fabric. It’s stable. However, the staining action is not deep. It can be scraped off. So, it’s good to finish the wood surface to near its final state before ebonizing.
Other than that, it’s simple. The piece in the photo had 3 coats of ebonizing liquid and was left to dry overnight. At that stage, it appeared very black and flat, like a 1960s hot rod. Four coats of shellac warmed up the color a lot and prepared it for gilding. After gilding, I added one more top coat of shellac.