How to Silver Sheet Glass
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Silvering and Re-Silvering Mirrors & How to Make Your Own One-Way Mirror Solution No
Silvering and Re-Silvering Mirrors & How to Make Your Own One-way Mirror Solution No. 1: Nitrate of Silver (pure) . 40 grains Nitrate of Silver (pure) . 32 grains Distilled Water . 1 pint Ammonia, 26% . To be used as directed. Take one pint of distilled water, pour 4 ounces of this into a glass, and into this put 40 grains of Nitrate of Silver. Dissolve the Nitrate of Silver thoroughly by stirring the water with glass strip (no spoon, or stick, or metal should be used). When it is all thoroughly dissolved, take your medicine dropper and drop 26% Ammonia Water into it one drop at a time; at first it will turn dark; keep dropping the ammonia until it becomes clear again, which will generally take about thirty drops; stopping the addition as soon as it clears. Very often after dropping 30 drops of Ammonia, it does not clear. In that case stir the solution slowly with your left hand and continue dropping the ammonia with the hand, one drop at a time until it does clear, which it will generally do after dropping a few more times. If after dropping seven drops more it does not clear (which takes 37 drops in all) do not drop any more Ammonia, as you are apt to spoil the solution. Then add 32 grains of the Nitrate of Silver, additional. Dissolve by stirring with your glass strip. When it is all dissolved, pour the mixture back into the pint of water first measured out. Let it stand for one hour or more to allow the sediment to settle on the bottom. -
The Bonefolder: an E-Journal for the Bookbinder and Book Artist Surface Gilding by James Reid-Cunningham
Bexx Caswell’s binding of Leaves of Grass by Walt Whitman; Illustrations by Jim Spanfeller. Hallmark, 1969. From the 2009 Bind-O-Rama. Volume 6, Number 1, Fall 2009 The Bonefolder: an e-journal for the bookbinder and book artist Surface Gilding By James Reid-Cunningham 28 Figure 1. The House South of North. Calfskin, gold leaf, Figure 2. Transfer leaf. palladium leaf, kidskin, fish skin, goatskin, box calf, abalone. Gilding on large flat surfaces is best done with transfer leaf Bound 2006. (also called patent leaf), which is gold leaf mounted on a piece Traditional binding decoration utilizes gold leaf to create of thin tissue that allows easily handling without wrinkling or discrete highlights, as in gold finishing. What I refer to as breaking the gold leaf. Transfer leaf can be cut with a scissors. “surface gilding” covers a binding with gold leaf over large Use a scissors reserved only for this task because any scratch areas, even over entire boards. This kind of decoration is rare or little bit of adhesive on the blade will pull the leaf and in bookbinding history, but can be seen in Art Deco bindings break it. When using loose gold leaf, it is necessary to adhere done in France during the 1920s and 1930s. Surface gilding the leaf to the substrate using oil or Vaseline. has become increasingly common among design binders in It sometimes seems that any adhesive ever invented recent years. Whether bound in leather, paper or vellum, has been used at one point or another to adhere gold to a surface gilding gives a spectacularly luxurious effect to a book, so there are many choices of what to use. -
Or on the ETHICS of GILDING CONSERVATION by Elisabeth Cornu, Assoc
SHOULD CONSERVATORS REGILD THE LILY? or ON THE ETHICS OF GILDING CONSERVATION by Elisabeth Cornu, Assoc. Conservator, Objects Fine Arts Museums of San Francisco Gilt objects, and the process of gilding, have a tremendous appeal in the art community--perhaps not least because gold is a very impressive and shiny currency, and perhaps also because the technique of gilding has largely remained unchanged since Egyptian times. Gilding restorers therefore have enjoyed special respect in the art community because they manage to bring back the shine to old objects and because they continue a very old and valuable craft. As a result there has been a strong temptation among gilding restorers/conservators to preserve the process of gilding rather than the gilt objects them- selves. This is done by regilding, partially or fully, deteriorated gilt surfaces rather than attempting to preserve as much of the original surface as possible. Such practice may be appropriate in some cases, but it always presupposes a great amount of historic knowledge of the gilding technique used with each object, including such details as the thickness of gesso layers, the strength of the gesso, the type of bole, the tint and karatage of gold leaf, and the type of distressing or glaze used. To illustrate this point, I am asking you to exercise some of the imagination for which museum conservators are so famous for, and to visualize some historic objects which I will list and discuss. This will save me much time in showing slides or photographs. Gilt wooden objects in museums can be broken down into several subcategories: 1) Polychromed and gilt sculptures, altars Examples: baroque church altars, often with polychromed sculptures, some of which are entirely gilt. -
Biography: Justus Von Liebig
Biography: Justus von Liebig Justus von Liebig (1803 – 1873) was a German chemist. He taught chemistry at the University of Giessen and the University of Munich. The University of Giessen currently bears his name. Liebig is called the father of fertilizers. He confirmed the hypothesis concerning the mineral nutrition of plants, which became the basis for the development of modern agricultural chemistry. Liebig’s research is considered a precursor to the study of the impact of environmental factors on organisms. He formulated the law of the minimum, which states that the scarcest resource is what limits a given organism. He also developed a process for producing meat extract and founded the company Liebig Extract of Meat Company whose trademark was the beef bouillon cube, which he invented. Justus von Liebig was born into a middle class In 1824, at the age of 21, Liebig became a family from Darmstadt on May 12, 1803. As a professor at the University of Giessen. While in child, he was already fascinated by chemistry. Germany, he founded and edited the magazine When he was 13 years old, most of the crops in the Annalen der Chemie, which became the leading Northern Hemisphere were destroyed by a journal of chemistry in Germany. volcanic winter. Germans were among the most In 1837, he was elected a member of the Royal affected. It is said that this experience influenced Swedish Academy of Sciences, and in 1845, started the subsequent work of Liebig and the working at the University of Munich, where he establishment of his company. remained until his death. -
Gilding with Kolner Burnishing Clay and Insta-Clay by Lauren Sepp
Gilding with Kolner Burnishing Clay and Insta-Clay By Lauren Sepp ’ve been asked many times by custom framing re- achieve different shades. The white Burnishing Clay tailers if there is an easier way to water gild and can be tinted with Mixol tinting agents up to 5 percent I burnish a surface, as it’s generally agreed upon that by weight to achieve any color you desire. traditional water gilding is a labor-intensive method. Both the Burnishing Clay and Insta-Clay can be Kolner products address that demand by streamlining applied to many different surfaces. Certain nonpo- the water gilding process, which would otherwise in- rous substrates require no sealing before application clude many more steps. of the clay: Plexiglas and other plastics, sealed woods, Kolner Products, based in Germany, formulated a nonporous paints, and lacquered metals. Unsealed water-based, single-layer, burnishable gilders’ clay for metals may require a primer. Smooth plastics and water gilding in 1985 called Kolner Burnishing Clay. metals may require a light sanding to promote good This product combines and replaces the glue size, ges- adhesion. Porous surfaces such as matboard, paper, so, and bole layers with a single product. The clay is parchment, raw wood, textiles, unglazed ceramics, premixed with an acrylic binder and only needs to be stone, plaster, traditional gesso and compo orna- thinned slightly and stirred. There is no heating, dis- ments require a sealer before applying the clays. In solving of glues, or straining. There is also a sprayable many applications, shellac is a good all-around sealer. -
Gilding Through the Ages
Gilding Through the Ages AN OUTLINE HISTORY OF THE PROCESS IN THE OLD WORLD Andrew Oddy Research Laboratory, The British Museum, London, U.K. In 1845, Sir Edward Thomason wrote in his not public concern but technological advance which memoirs (1) a description of a visit he had made in brought an end to the use of amalgam for gilding. to certain artisans in Paris and he commented: 1814 Gilding with Gold Foil `I was surprised, however, at their secret of superior Although fire-gilding had been in widespread use in gilding of the time-pieces. I was admitted into one gilding establishment, and I found the medium was Europe and Asia for at least 1 500 years when it was similar to ours, mercury; nevertheless the French did displaced by electroplating, the origins of gilding — gild the large ornaments and figures of the chimney- that is, the application of a layer of gold to the surface piece clocks with one-half the gold we could at of a less rare metal — go back at least 5 000 years, to Birmingham, and produced a more even and finer the beginning of the third millennium B.C. The colour'. British Museum has some silver nails from the site of Much to his disgust, Thomason could not persuade Tell Brak in Northern Syria (5) which have had their the French workmen to tell him the secret of their heads gilded by wrapping gold foil over the silver. superior technique, but it seems most likely that it This is, in fact, the earliest form of gilding and it lay either in the preparation of the metal surface depends not on a physical or chemical bond between for gilding or perhaps in the final cleaning and the gold foil and the substrate, but merely on the burnishing of the gilded surface. -
Experimental Investigation of Silvering in Late Roman Coinage
Mat. Res. Soc. Symp. Proc. Vol. 712 © 2002 Materials Research Society Experimental investigation of silvering in late Roman coinage C. Vlachou, J.G. McDonnell, R.C. Janaway Department of Archaeological Sciences, University of Bradford, BD7 1DP, UK. ABSTRACT Roman Coinage suffered from severe debasement during the 3rd century AD. By 250 AD., the production of complex copper alloy (Cu-Sn-Pb-Ag) coins with a silvered surface, became common practice. The same method continued to be applied during the 4th century AD for the production of a new denomination introduced by Diocletian in 293/4 AD. Previous analyses of these coins did not solve key technological issues and in particular, the silvering process. The British Museum kindly allowed further research at Bradford to examine coins from Cope’s Archive in more detail, utilizing XRF, SEM-EDS metallography, LA-ICP-MS and EPMA. Metallographic and SEM examination of 128 coins, revealed that the silver layer was very difficult to trace because its thickness was a few microns and in some cases it was present under the corrosion layer. Results derived from the LA-ICP-MS and EPMA analyses have demonstrated, for the first time, the presence of Hg in the surface layers of these coins. A review of ancient sources and historic literature indicated possible methods which might have been used for the production of the plating. A programme of plating experiments was undertaken to examine a number of variables in the process, such as amalgam preparation, and heating cycles. Results from the experimental work are presented. ITRODUCTION Coinage in the Late Roman Period suffered from severe debasement. -
Gilded Pinch Pots the Most Basic Means of Hand-Forming Pottery Takes a Dazzling New Direction
Copyright © 2018 Dick Blick Art Materials All rights reserved 800-447-8192 DickBlick.com Gilded Pinch Pots The most basic means of hand-forming pottery takes a dazzling new direction. The application of gold as a decorative element is known as "gilding" and has been practiced using a variety of techniques since ancient times. Artists in China developed a means of firing gold with molten glass onto porcelain to create gilded pottery pieces that were highly prized by collectors in many nations. Later during the same century, as gilding techniques spread westward to Europe, the Baroque and Rococo decorative styles of the 18th century saw high demand for gilded porcelain tableware and figures. In modern times, the combination of ceramics and gold is still highly desirable. Ceramic artist Jennifer McCurdy creates nature-inspired sculptures from delicate formations of porcelain, then applies gold leaf to the inside. The gilding creates the illusion that the pieces are glowing from within. The most basic technique for forming a three- dimensional piece of pottery is a pinch pot. It's usually the first method a potter learns. In this lesson, students will use air-dry clay to form a small vessel, then gild a portion of it with imitation gold leaf. The result is a dramatic and rich-looking container that can be useful in many ways. GRADES K-12 Note: Instructions and materials are based upon a class size of 24 students. Adjust as needed. Preparation 1. Cut block of clay into pieces and store in zip-lock bags until ready to use. -
The Journal of the Walters Art Museum
THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland. -
GILDING-TECHNIQUES.Pdf
1 GILDING TECHNIQUES A description of various techniques by Aidan Hart THE SYMBOLISM OF GOLD In Orthodox icons, as in sacred arts of many other religions, gold symbolizes divine presence, glory, spiritual light. Gold is not a colour as such, as are the other elements of the icon; it is of a different order of existence. That is, it represents the divine order, which creates and sustains the created order. This being the case the role of gold is not mere decoration. One sign of decadence in the majority of eigtheenth and nineteenth century Russian icons is that gold’s symbolic role was compromised; overly fine gold lines are used as mere ornament, especially on garments. The main places gold is used on traditional icons is the “background”, for haloes, and as gold lines (called assist ) on garments, trees and more rarely, on architectural details. As background the gold shows that it is in God that we “live and move and have our being”, as Saint Paul said. God is like the water within which all creation swims like fish in the ocean. The gold halo represents the Holy Spirit’s indwelling of the saint, the shekena glory of God shining from within. When used as assist the gold represents the material world being transfigured by God. The lines thus do not denote superficial decoration, but rather an inner, transforming presence of the Divine within the inimate world. These lines follow the basic form of the object on which they are drawn - the drapery, tree trunk or whatever - but are abstracted enough to show that they represent a spiritual reality and do not just suggest form. -
Historic Mercury Amalgam Mirrors: History, Safety and Preservation by Kathleen Payne De Chavez
Tech Notes, Spring 2010 Historic Mercury Amalgam Mirrors: History, Safety and Preservation By Kathleen Payne de Chavez Large mirror-plates are now the indispensable ornaments of every large and sumptuous apartment; they diffuse luster and gayety round them, by reflecting the rays of light in a thousands lines, and by multiplying indefinitely the images of objects placed between opposite parallel planes. —Ure’s Dictionary (1856) History While ancient civilizations, including the Romans, Mayans, and Egyptians, employed highly polished metal discs as mirrors, what we understand as a modern mirror, a glass with a reflective metal-foil backing, came into being sometime around the end of the 15th century. In Venice the development of cristallo, a transparent, colorless glass, gave Venetian glassmakers an advantage in the creation of high-quality mirrors with clear reflectance. Initially, some glassmakers poured a mirroring mixture of lead and antimony onto the surface of highly polished blown-glass plates, but this method yielded a rough surface with dim reflection. In the early 16th century, the Del Gallo glassmakers of the Venetian island of Murano improved the method by developing a mercury-tin amalgam technique for mirroring the glass surface. T his method deposited a thin layer of tin on the surface creating unparalleled reflectance. So revolutionary was this technique that the Republic of Venice forbade Muranese glassmakers from emigrating and taking their trade secrets to other regions. However, by the mid-seventeenth century some of these skilled craftsmen had escaped and brought the trade to France, and from there, the world. Despite the appearance of a competing mirror-making process, mercury-tin amalgam remained the predominant form of mirroring through the 19th century. -
GILDING with KOLNER INSTACOLL Ally Burnished Gold
There is a gilding size that many gilders have 3. Apply activator when the Instacoll has dried. not heard of. It was developed by Kolner in It can be applied up to 1 year later. Use a syn- 1990 for interior and exterior gilding projects. thetic fiber brush or a lint free cloth soaked It is called Instacoll and it achieves a super with activator. Apply a thin coat of activator shiny, mirror gloss finish as bright as tradition- on an area that can be gilded within 60 min- GILDING WITH KOLNER INSTACOLL ally burnished gold. Instacoll has been fully utes. Wait until the activator has dried, about tested since 1990 and meets the requirements 15 minutes. Instacoll’s tack is so faint and dry for long lasting exterior gilding. Instacoll was that you really can’t feel it. So it’s best to rely used on the 2583 sq.ft. Victory Column in on the clock. Do not touch the activated area Berlin in 2010.The Berlin State Heritage De- as this will decrease the leaf adhesion. The ac- By Lauren Sepp partment decided to use Instacoll because of tivator is clear, so make sure you have coated the durability it has shown for the last 27 years the whole area you want to gild. In the world of gilding, the question that arises frequent- on exterior gilded projects. It has recently been ly is “can I oil gild a surface and get the look of burnished used on the Academy of the arts in Dresden gold without water gilding.” The answer has always been as well.