My Course Combining Acrylic Painting with Gold Leaf!

Welcome to my course combining acrylic painting with gold leaf!

This document is taken from my book Acrylic Illuminations. Here you will find a variety of techniques to try with acrylic paint and gold leaf. Enjoy!

Snake River, 48”x 60”, acrylic and gold leaf on panel, Nancy Reyner

©Nancy Reyner PAINTING SUPPLIES

In addition to general leafing supplies, here is a list of painting supplies for experimenting with the painting techniques in this course.

Palette for mixing colors Choose any of the following: Disposable plastic plates, a sheet of glass, freezer paper, a palette pad

Tools: Palette knife or mixing knife (with stepped handle), a variety of brushes in different sizes and bristle types, water container, paper towels, blow dryer to quick dry paint, water spray bottle, a soft lint free rag for applying glazes (I cut up old shirts for this. After having been worn and washed many times they are usually soft and lint free), waterproof sandpaper 220 grit.

A variety of acrylic paints colors Get at least one of each of the primary colors - red, blue and yellow. My favorites list: Quinacridone Magenta, Quinacridone Burnt Orange, Anthraquinone Blue, Phthalo Blue green shade, Green Gold, Nickel Azo Yellow, Titanium White, Carbon Black, Ultramarine Blue, Pyrrole Red, Hansa Yellow Medium, Turquoise Phthalo, Dioxazine Purple. For the faux tarnish effect use Golden’s Iridescent Bronze Fluid Paint.

Acrylic products (I use Golden brand but feel free to experiment with other brands):

• Molding Paste (this is NOT the same as Golden’s Light Molding Paste) https://amzn.to/2GlYt38

• Golden’s Gloss Glazing Liquid. You can also make your own by adding 15% Retarder to 85% any acrylic gloss medium. If you like texture you can use a gloss gel instead of the slow drying medium. https://www.dickblick.com/products/golden-acrylic-glazing-liquid/

• A matte medium or matte gel for translucent effects, and for extra fun try Golden’s Glass Bead Gel. https://bit.ly/2xWlCoj

• Golden’s Light Molding Paste. There is no substitute for this. It is a great product and one of my all-time favorites. Please note: this is not the same as Golden’s Molding Paste, which I use under the leaf to create a nice textural surface. https://amzn.to/2Y9ULEb Essential Tips for Metallics

Metal leaf refers to squares of metal hammered into very thin sheets sold between pieces of tissue for ease in handling and storing. Metal leaf comes in many forms and is easily obtained from art stores and gilding supply companies. In some cases using real gold leaf is essential, especially for traditional water gilding methods. For the techniques in this book it Metal Paint Versus Metal Leaf is not necessary to use real gold leaf. When a There is a big diff erence in refl ective qualities between the metal paint and metal leaf surface is eventually covered with layers leaf, shown here. Fluid Iridescent Gold (Fine) paint is knife applied on the left, while imitation gold leaf is adhered on the right. Iridescent paints refl ect more than of paint, mediums or placed over texture, it is regular paints, but leaf still wins out regarding high sheen. See Technique 5 to get not worth spending the extra cost for real gold. the most refl ective eff ects. Imitation leaf is still made of metal and has its own luminous metallic sheen and qualities. The demonstrations in this section that use imitation leaf can also be used with real gold leaf, thicker sheets of metal or metal paint. Feel free to substitute metal sheeting or metallic paints for most techniques in this section that call for metal leaf. Leaf needs adhesive to adhere to a painting surface. There are two types of adhesives (also called glue or size): water-based or sol- REAL GOLD LEAF IMITATION GOLD LEAF vent-based. Either one can be used for the Gold Leaf and Metal Leaf techniques in this section. The solvent-based Real gold leaf is often confused with imitation gold leaf. Real gold leaf comes in adhesive levels out easier for a smoother look, squares measuring 3¼" × 3¼" (8.3cm × 8.3cm). Prices vary according to the price of but is toxic, so I prefer the non-toxic water- gold. Imitation gold leaf is commonly referred to as gold leaf but is made with a combination of zinc and copper, containing no real gold. It comes in squares measuring based version. Some imitation leaf is available 5½" × 5½ (14cm × 14cm) and is signifi cantly cheaper. already prepared with glue on one side, but its mesh texture becomes visible on the surface. I Metal Leaf Comes in a Wide Variety prefer using the loose or unprepared leaves as IMITATION GOLD MADE WITH IMITATION SILVER MADE OF COPPER AND ZINC COPPER ALUMINUM they can be applied without this texture. Layering gold leaf over a surface is called gold leafi ng or gilding. Traditional water gilding is the most diffi cult approach, with its process remaining virtually unchanged for hundreds of years. Water gilding produces a very smooth and glossy sheen useful for framing and icon painting. I prefer adhering leaf with size which reveals the artists hand and will better integrate visually with added paint techniques. The water gilding technique is not included in this book as it requires a book in itself and there are other comprehensive ones already available. LOOSE PIECES VARIEGATED

UU1065_020-051_S2.indd1065_020-051_S2.indd 2222 88/8/13/8/13 8:298:29 AMAM Mountain Poem in Silver Nancy Reyner Acrylic and silver leaf on panel 16” × 12” (41cm × 30cm)

Compare how the gold and silver leafed backgrounds in these paintings evoke warm or cool undertones.

Stargate Nancy Reyner Acrylic and gold leaf on panel 48” × 36” (122cm × 91cm)

U1065_020-051_S2.indd 23 8/8/13 8:29 AM TECHNIQUE 1 BASIC APPLICATION OF GOLD LEAF

MATERIALS LIST Create a dramatic metallic surface with gold leaf or other types of metal leaf on most painting surfaces. The last step Substrate in this demonstration seals the leaf to inhibit tarnishing, Any painting surface and to enhance adhesion between paint and leaf. For more information on leaf, see Essential Tips for Metallics. Tools Before applying the leaf, consider your preference for the A large fl at soft paintbrush, a small fl at stiff -bristled fi nal outcome. The smoother the surface under the leaf, the paintbrush, rag (or cotton balls or cheesecloth), more glossy and shiny the leaf appears, while a textured sur- waxed paper face such as canvas or those with applied textural grounds Products off er a softer satin appearance. Prepare the surface accord- Gold or metal leaf in square sheets, oil or water-based ingly by following Technique 5 to smooth a surface or Tech- leaf sizing, solvent-based clear gloss acrylic (i.e. MSA nique 3 for adding texture. The smooth premade wood panel Gloss Varnish for brush application or Golden’s Archival used in this technique needs no preparation. If desired, paint Spray Gloss) the surface with your preferred acrylic paint color. It will only be visible in small areas where the leaf does not stick. For Clean Up Water, water container, paper towels or rags

1 Apply Adhesive to the Surface 1 Using a soft brush, apply leaf adhesive (also called glue or sizing) to the dry surface in a very thin layer. Do not dilute the size with water to thin, instead work quickly with moderate pressure on the brush to spread it thinly. To avoid applying thickly, see how far a small amount of sizing can extend instead of continually loading up the brush. Let dry until sizing goes from wet to tacky, about 20 minutes in average climates. This can stay tacky for up to 24 hours giving ample time to apply the leaf. Test for correct tack by touching the applied adhesive lightly with your knuckle. If size is tacky but still stays on the surface and doesn’t transfer to your knuckle, it’s ready. Like most acrylic products, the sizing is white when wet and dries clear.

2 Handling the Metal Leaf 2 Cut a piece of waxed paper slightly larger then the square leaf. Lower this ﬁ rmly down onto the leaf and with the side of your hand wipe gently over all the wax paper area creating static which temporarily sticks the leaf to the wax paper.

U1065_020-051_S2.indd 24 8/8/13 8:29 AM 3 Adhere the Leaf 3 4 The leaf, attached to the waxed paper, can now be easily carried to your support and positioned over the area it will be placed. Take a moment to see where it’s going, then lower it down. Rub gently with your hand over the wax paper and leaf so the leaf transfers, sticking to the size. Remove the wax paper. Repeat with more leaf, allowing each square to generously overlap with each other, until the surface is fully leafed.

4 Fix Gaps as Necessary For gaps accidentally occurring between squares, simply ﬁ ll in with smaller pieces of leaf 5 6 using your hand.

5 Burnish the Leaf Using a cotton ball, soft cloth or cheesecloth, rub the entire surface using ﬁ rm pressure over wax paper to protect the leaf while burnishing all leafed areas.

6 Clean off Excess Leaf Gently pick oﬀ the excess leaf in overlapped areas using a small stiﬀ bristle brush. Let dry at least three days.

TIPS

• Almost any surface can be used for leaﬁ ng, however, rigid sturdy panels work best if planning to continue overpainting the leaf with other techniques such as sanding or pouring. • Use a lint-free rag to apply the size instead of a brush for smoother applications. Spray leaf adhesives are available if preferred. Finished Example • Instead of applying leaf over 7 Seal the Surface the entire surface, apply leaf Sealing the leafed surface allows easier applications of subsequent paint layers. It also protects the over painted or selected areas leaf from abrasive techniques that use sanding or removing paint layers. Sealing enhances adhesion for paint layers (important for some imitation leaf that is coated with wax by the manufacturer). of a painting already in process. Sealing inhibits imitation leaf from tarnishing by exposure to air or ammonia (a common ingredi- ent in acrylic products). Seal using a spray for textured surfaces or brush apply for light texture or smooth surfaces using a solvent-based clear gloss acrylic. Companies that sell leaf usually sell an appropriate sealer. After applying the sealer, let dry a few days then apply a thin coat of an acrylic (polymer) gloss medium (do not dilute with water) for additional protection. The leaf surface is now ready to over- paint or use with other techniques in this book.

U1065_020-051_S2.indd 25 8/8/13 8:29 AM TECHNIQUE 2 MIXING METAL LEAF

MATERIALS LIST Combine a variety of metal leaf for a dazzling metallic eﬀ ect. For leaf choices, see Essential Tips for Metallics at the beginning of this section. Substrate Any painting surface with adhesive applied (see Step 1, 1 Technique 1)

Tools Wax paper, fl at soft paintbrush, fl at stiff -bristled paintbrush, rag (or cotton balls or cheesecloth)

Products Two or more varieties of metal leaf, leaf adhesive

For clean-up Water, water container, paper towels or rags 2

1 Prepare Surface, Then Rip Metal 2 Adhere Shapes to the Surface Leaf in Shapes Place ripped leaf shapes where desired on the TIP Prepare the surface by following Step 1, tacky adhesive surface, using the wax paper Technique 1 to apply the size. Sheets of metal method in Step 2, Technique 1 or just place the leaf with your hands as pictured. Allow leaf Seal the leaf surface to inhibit leaf come sandwiched between tissue. Grasp the leaf with the tissue and gently rip or cut into shapes to overlap. Here is red variegated leaf tarnishing and for ease in desired shapes. This multi-colored leaf is called and blue variegated leaf applied over a smooth overpainting techniques Variegated. wood panel pre-painted with Red Oxide then sized with a water-based adhesive. (Step 7, Technique 1).

U1065_020-051_S2.indd 26 8/8/13 8:29 AM Cairn 3 Nancy Reyner Acrylic and metal leaf on panel 40" × 30" (102cm × 76cm)

A combination of leaf types adds a visual texture. Continuing from Technique 2, Step 4, additional variegated leaf is applied on the bottom, while other areas are overpainted using Techniques 4, 7 and 9.

Levitate Bonnie Teitelbaum Acrylic and gold leaf on panel, 16" × 12" (41cm × 30cm)

Variegated gold leaf is applied over 3 Continue to Leaf in Areas a painted textured surface. Continue to use a variety of leaf. Here imitation gold leaf contrasts the red and blue variegated ones previously applied. Apply leaf in all desired areas.

4 Finish Burnish and clean oﬀ excess leaf (Steps 5 and 6, Technique 1). Here is the ﬁ nished combination using three leaf varieties.

U1065_020-051_S2.indd 27 8/8/13 8:29 AM TECHNIQUE 3 TEXTURED METAL

MATERIALS LIST Metal leaf takes on various personas visually shifting according to what is under- neath. A textured surface using acrylic pastes and gels under leaf looks like tex- Paint tured metal, with a soft refl ective quality. 1 or more acrylic paint colors For this demonstration, a wood panel surface uses Step 1, Technique 34 with knife-applied Molding Paste and black paint in a soft natural texture. Substrate Any primed painting surface 1 Add Texture to the Surface Tools 1 Combine a paint color with any thick acrylic gel or paste and mix well with a knife. Use enough Painting knife or other textural paint color into the binder to keep the color tool, large fl at soft paintbrush, strong. Apply the mixture to the surface with a knife. Use more for high relief or less for low small fl at stiff -bristled paintbrush, relief. Create textural patterns with a knife or rag (or cotton balls or cheese- other tool. cloth), mixing palette or container

Products A thick acrylic paste or gel, a slow- drying gloss acrylic medium, metal Imitation gold leaf over low relief texture Imitation gold leaf over high relief texture leaf, leaf adhesive, wax paper, solvent-based clear gloss acrylic 2a 2b spray

For clean-up Water, water container, paper towels or rags

2 Apply Metal Leaf Use Steps 1–7 in Technique 1 to apply the leaf and seal.

3 IDEAS

• Experiment in Step 1 using textural gels such as glass bead gel or pumice gel. • Substitute iridescent paint for the leaf in Step 2.

3 Emphasize Texture (Optional) Optionally emphasize the texture by glazing. Combine a paint color with a slow-drying acrylic medium in a 1:1 ratio and mix well to make a glaze. Brush apply the glaze liberally over the surface. While wet, gently wipe the mixture oﬀ with a clean, dry rag. Leave some glaze in the lines and crev- ices created from the texture. This glaze combines Cobalt Teal and Acrylic Glazing Liquid Gloss.

UU1065_020-051_S2.indd1065_020-051_S2.indd 2288 88/8/13/8/13 8:308:30 AMAM Textural Tools Choose from a wide variety of tools to create texture, including easily accessible household items such as combs and credit cards.

BUBBLE WRAP TOOTHBRUSH FINE ART PAINTING SHAPER TOOLS KNIFE FORK HAIR COMB

WOODEN MIXING STICK FEATHER WIRE MESH SCREEN

Knotted Maya Malioutina Acrylic and gold leaf on canvas 30" × 30" (76cm × 76cm)

A “textured metal” technique is used here to great eﬀ ect. Molding Paste, squeezed out of a hole in a plastic bag, creates this texture on canvas, prepainted with red and yellow. Gold leaf is applied over the texture, and rubbed with umber and black for a tarnished eﬀ ect.

Merrily, Merrily, Merrily, Merrily 2 Patricia Forbes Acrylic and paper collage on panel 24" × 24" (61cm × 61cm)

Molding Paste mixed with iridescent paint is applied in a combed texture. Collaged papers create the ribbonlike designs. Interference glazes are added on top to enhance the metallic refraction. See Techniques 22 and 23.

U1065_020-051_S2.indd 29 8/8/13 8:30 AM TECHNIQUE 4 SANDING METAL LEAF

MATERIALS LIST Fragments of colored paint add visual contrast to metal leaf with this sanding technique. A fun way to create unique surface areas and underpaintings. Paint 1 or more acrylic paint colors 12 Substrate A rigid sturdy panel (either smooth or textured) leafed and sealed (Technique 1)

Tools 120 or 240 grit waterproof sandpaper, paper towels, spray bottle 1 Prepare the Surface and Paint 2 Wet Sand in Select Areas or water container, large fl at soft the Metal Leaf Add water to the surface with a water sprayer paintbrush, small fl at stiff -bristled Start with any painting surface. Choose to keep or brush and dip sandpaper into water. Rub paintbrush, rag (or cotton balls or the surface smooth or add texture. Here a tex- sandpaper vigorously with pressure over paint to remove. Wipe frequently with a rag or paper cheesecloth) tured surface is created from Step 1, Technique 3. Follow steps 1–7 in Technique 1 to apply leaf towel to take away the excess paint, continu- and seal. Brush apply one or more coats of an ously adding water so there is always water Products acrylic gloss medium as extra protection for between sandpaper and surface. Sand until Water, acrylic (polymer) gloss sanding later. Let fully dry. only some fragments of color remain. Let dry, then apply a coat of acrylic gloss medium to medium, metal leaf, leaf adhesive, Select one or more acrylic paint colors and liberally apply using a brush, knife or rag, cover- restore metallic sheen. wax paper, solvent-based gloss ing the leaf surface. The following fl uid paint acrylic colors are applied here: Quinacridone Magenta, Transparent Red Iron Oxide, Cobalt Blue and Green Gold. Let fully dry.

The Surface After Sanding Finished Example Remnants of paint colors remain after sanding, emphasizing the underly- Repeat with other colors until satisﬁ ed. Here Raw Umber is applied over ing textured surface and creating an interesting appeal. the previously sanded surface, then sanded again.

UU1065_020-051_S2.indd1065_020-051_S2.indd 3300 88/8/13/8/13 8:308:30 AMAM Lava & Blue Lake Nancy Reyner Acrylic and gold leaf on panel 48" × 36" (122cm × 91cm)

Carbon Black paint is sanded from a smooth leafed surface in the top left section. The middle section shows sanded green paint colors.

Late Day Aleta Pippin Acrylic on panel 6" × 6" (15cm × 15cm)

Starting with an unleafed textured surface, Micaceous Iron Oxide is applied over the texture then sanded adding the antique eﬀ ects visible on the bottom half. A ﬁ nal wash pour (Step 2, Technique 33) of Iridescent Gold adds a metallic shimmer to the top half.

UU1065_020-051_S2.indd1065_020-051_S2.indd 3311 88/8/13/8/13 8:308:30 AMAM TECHNIQUE 5 HIGH GLOSS LEAF

MATERIALS LIST You can enhance the metallic sheen of metal leaf and metallic paints with smooth surfaces and gloss layers. Substrate Any smooth painting surface

Tools A large fl at soft paintbrush, a small fl at stiff -bristled paintbrush, rag (or cotton balls or cheesecloth), waxed paper

Products Gold or metal leaf in sheets, oil or water based leaf sizing, solvent- based clear gloss acrylic, acrylic

(polymer) gloss medium or gel FLUID IRIDESCENT GOLD FINE BRUSH APPLIED OVER CANVAS. FLUID IRIDESCENT GOLD FINE KNIFE APPLIED OVER A SMOOTH SURFACE. For cleanup Water, water container, paper towels or rags

IMITATION GOLD LEAF APPLIED OVER CANVAS. IMITATION GOLD LEAF APPLIED OVER A SMOOTH SURFACE.

Enhancing Metallic Sheen Iridescent metallic paints or leaf over textured surfaces yield softly refl ective sheens. Smooth underlying surfaces, however, yield highly refl ective sheens. Use the following process to enhance refl ective sheens for metallic paints or metal leaf.

1 Start With a Smooth Surface 2 Apply Metal Leaf 3 Add Additional Gloss Layers The smoother the surface the higher the refl ec- Over the smooth surface, apply metal leaf Adding layers of gloss over the leaf increases tive sheen. Here are three options: following all steps in Technique 1. the refl ective quality. Here are three options • Purchase a panel pre-made with a smooth to try over sealed leaf (Step 7, Technique 1): surface, such as hardboard or masonite. • Brush apply or spray one or more coats • Brush apply a paint color or acrylic gesso on of acrylic gloss medium. Let it dry in the surface. Let dry. Wet sand as instructed between coats. in Step 1, Technique 12. • Knife apply a thick acrylic gloss gel and let • Pour an acrylic medium over the surface it dry. following instructions in Technique 25 for a • Pour a clear gloss acrylic over the leaf using “surfboard fi nish.” Technique 25.

U1065_020-051_S2.indd 32 8/8/13 8:30 AM Turquoise Sky Nancy Reyner Acrylic and gold leaf on panel 16” × 12” (41cm × 30cm)

Acrylic paint color creates the abstract landscape imagery and is painted over a high gloss leafed surface. Some of the leaf surface was left unpainted so it is still visible.

Veil Destiny Allison Acid and acrylic on steel 48” × 48” (122cm × 122cm)

This steel surface is colored with an acid patina, embellished with acrylic, and further enhanced with a ﬁ nal industrial clear coat.

UU1065_020-051_S2.indd1065_020-051_S2.indd 3333 88/8/13/8/13 8:308:30 AMAM TECHNIQUE 6 GOLD LEAF BACKGROUNDS

MATERIALS LIST A background in gold or metal leaf can add a unique appeal to your painting. This technique saves time and money by applying leaf only in desired areas after Substrate painting. See Technique 8 to add delicate leaf designs over a painting. Any painting surface pre-painted with an image

Tools A large fl at soft paintbrush, a small fl at stiff -bristled paintbrush, rag (or cotton balls or cheesecloth), wax paper

Products Gold or metal leaf in sheets, oil or water based leaf sizing, solvent- 1 Paint an Image 2 Add Color to Background Start with a painting using any technique or Dark or bright colors work best under leaf, based clear gloss acrylic style, optionally leaving the background and showing through only in small areas of leaf other areas unpainted that you want leafed. imperfections. If needed, paint areas to be For clean-up This painting of birds has a sky left blank for leafed with traditional Red Oxide, Carbon Black Water, water container, paper leaﬁ ng. or a bright color such as Pyrrole Red Medium. Let dry. towels or rags

TIP 3 Apply Leaf 4 Clean off Excess Leaf For any painted areas acciden- Follow steps 1–4 in Technique 1 to apply size Clean oﬀ excess leaf following Step 6, Tech- tally covered with leaf, lightly and leaf over selected areas, butting the size nique 1. Wait at least 3 days for the size to fully sand oﬀ the leaf before sealing, as close as possible to the painted imagery cure. Seal the entire surface using Step 7, Tech- or touch up after sealing by and continuing by applying leaf over the sized nique 1, including both painted imagery and areas. Allow leaf to slightly overlap unsized leaf to get an even sheen. If desired continue overpainting the unwanted image areas. Burnish as instructed in Step 5, painting over the leaf with glazes (Technique 7), leaf areas. For any gaps where Technique 1. opaque paint color, or any preferred technique. leaf didn’t get close enough to painted areas, touch up with iridescent (or metallic) paint.

UU1065_020-051_S2.indd1065_020-051_S2.indd 3344 88/8/13/8/13 8:308:30 AMAM Plum Antique Sherry Loehr Acrylic and gold leaf on board 48" × 36" (122cm × 91cm) Collection of Alice Vargo

The gold leaf background adds striking contrast and a contemporary aesthetic to a traditional still life.

The Glance Michael Bergt Egg tempera and gold leaf on panel 40" × 34" (102cm × 86cm)

Contemporary artist Michael Bergt uses the traditional technique of egg tempera and real gold leaf on panel, a combination used in the early Renaissance for icon painting and religious altarpieces.

U1065_020-051_S2.indd 35 8/8/13 8:30 AM TECHNIQUE 7 INTENSIFY METALLIC HUES

MATERIALS LIST Metal’s subtle coloring shifts when viewed from diﬀ erent angles. For example, the gold coloring of gold leaf subtly ﬂ ips between a red-gold and green-gold. Paint Steel, aluminum or silver can shift between yellow and violet, while copper often A pair of complementary acrylic shifts between blue and orange. Adding transparent glazes of those colors will paint colors intensify the color shift. Use this technique on surfaces such as metal sheet, real gold leaf, imitation leaf and metallic paint. For more dramatic enhancement pour Substrate these colors using Technique 29. Metal or leafed surface that is either smooth or textured (if leafed, seal before starting as in Step 7, Technique 1)

Tools Painting or mixing knife, cups with lids, lint-free rag or smooth ﬂ at paintbrush

Products Slow-drying acrylic gloss medium 1 Prepare Paint 2 Apply the Glaze (or retarder or gloss gel) Select a pair of complementary colors and mix Use a rag for thin applications or brush apply each color into a glaze by combining the paint for thick. Since the mixture is slow drying it can For clean-up color with a slow-drying medium. Here Quinac- be removed easily by wiping oﬀ with paper ridone Crimson and Permanent Green Light are towel directly after applying if application is Water, water container, paper each mixed with Acrylic Glazing Liquid Gloss in unsatisfactory. For larger areas, apply in small towels or rags a 1:1 ratio. Lid the containers to keep them from size patches like a quilt, adding uncolored slow- drying while continuing to the next step. drying medium at the borders where one patch For best results test the mixture’s transpar- will meet the other to avoid a quilted look or ency over a scrap surface, to determine that heavier color applications at edges. the metal is still visible and reﬂ ective under the glaze when dry. Transparency is obtained two ways; by applying opaque color in very thin applications, or transparent color in thin or thick applications. The 1:1 ratio is a good starting point, but can be changed to accommodate the colors you choose and the way you work. Blow TIPS dry to speed drying time, or wait until fully dry to see the true transparency and color intensity • Substitute Acrylic Glazing Liq- of your glaze mixture. uid in Step 1 with other slow- drying mediums or any gloss Finished gel in the same ratio. If using Example the additive retarder, change Red and green glazes the ratio 10:1 color to retarder. add interest to this gold leaf surface. • If the glaze color is too opaque, add more medium. If using retarder, now add more medium. If the color intensity is not enough, opt to apply several layers, letting each dry before applying the next.

UU1065_020-051_S2.indd1065_020-051_S2.indd 3366 88/8/13/8/13 8:308:30 AMAM Metallic hues are intensiﬁ ed with many glazes of transparent color over Paradise a gold leafed background keeping the gold gleaming through the paint David L. DeVary colors. Oil and gold leaf on canvas 58" × 46" (147cm × 117cm)

UU1065_020-051_S2.indd1065_020-051_S2.indd 3377 88/8/13/8/13 8:308:30 AMAM TECHNIQUE 8 DECORATIVE DESIGNS

MATERIALS LIST Metal leaf designs, patterns and embellishments on a painting add accents, interest and visual focus. Substrate Any painting surface pre-painted with an image or color

Tools Small paintbrush (for intricate design areas) or large paintbrush (for broad design areas), rag (or cotton balls or cheesecloth)

Products Gold or metal leaf, leaf adhesive, wax paper. 1 Apply Adhesive 2 Apply Leaf For clean-up Here a knife is dipped into leaf adhesive then Apply leaf (Steps 2–5, Technique 1) over entire Water, water container, paper drizzled onto a surface painted with Red Oxide, surface or in excess of your design. Remove towels or rags creating free-form patterns. any excess leaf placed over non-adhesive areas following Step 6, Technique 1.

Adhesive Drip Applied Adhesive Brush Applied Finished example with adhesive dropped from a cooking baster. Finished example with brush applied adhesive in a design.

U1065_020-051_S2.indd 38 8/8/13 8:30 AM Nuestra Señora del Carmen Arlene Cisneros Sena 28" × 11" (71cm × 28cm) Photo credit: Corrie Photography

An exquisite example of devotional art, a traditional New Mexican art form, using gold leaf in delicate design work, by award winning contemporary artist Arlene Cisneros Sena. Sena used traditional materials including homemade gesso, natural pigments, twenty-three karat gold leaf, pine sap varnish on a sugarpine panel.

IDEAS

Apply leaf adhesive using a brush for intricate designs, or try a more abstract approach by dripping or pouring the adhesive in free-form patterns. Alternatively use squeeze bot- tles or pour adhesive directly from a container. For repeat designs use a ready-made or handmade stencil. Place the stencil over the painting, taping it securely onto the surface with masking tape. Spray adhesive over the stencil then remove stencil carefully. Whatever application method you choose for applying adhesive, let it dry at least 20 minutes or until tacky before continuing.

UU1065_020-051_S2.indd1065_020-051_S2.indd 3399 88/8/13/8/13 8:308:30 AMAM TECHNIQUE 9 SUBTRACTIVE GLAZING

MATERIALS LIST Add dramatic lights and darks to an underlying composition with this playful and quick technique over metal surfaces. A dark luminous glaze is wiped away Paint to reveal lights, brights and mid-tones. Red Oxide, Yellow Oxide, Carbon Black, Iridescent Silver, Iridescent Copper

Substrate Any smooth or slightly textured metal surface or a leafed and sealed surface (see Technique 1)

Tools A lint free rag, a large fl at paintbrush, mixing palette or cup, 1 Apply a Dark Glaze 2 Remove Glaze in Select Areas Mix a dark-colored metallic glaze with the Decide where you want lighter or mid-tone mixing knife, rag (or cotton balls or following formula: 2 parts Carbon Black, 2 parts areas in your composition. Wipe the wet glaze cheesecloth) Iridescent Silver, 1 part Yellow Oxide, 1 part fi rmly with a lint-free rag removing it com- Red Oxide, 6–8 parts slow-drying medium, pletely for light areas. Wipe gently in other areas Products 1 part water. Mix colors, medium and water leaving a thin glaze layer to create mid-tone A slow drying acrylic (polymer) thoroughly with a knife on a palette or in a cup. areas. Allow the glaze to remain on the surface Use a large, dry, fl at brush to apply the glaze for dark tonal areas. If the glaze is wiped off an gloss medium (or add 1 part liberally over the entire surface. If the glaze area mistakenly, simply reapply more glaze and retarder to 10 parts medium), application is streaky or too dark gently wipe continue. Just like working on a blackboard, over the surface with a rag or paper towel to this process is very giving, so some areas can be For clean-up: smooth and thin out the layer. If your surface added, erased, then added again. When satis- is large or the glaze is drying too quickly, fi ed with the overall arrangement of lights and Water, water container, paper apply glaze only on a portion of the surface, darks, let dry. towels or rags continuing to Step 2 for that area, then repeat for remaining areas. Continue to the next step while this layer is still wet.

3 Intensify With More Glaze Use the same glaze from Step 1, or opt to change colors to create more interest. Here a new dark glaze using Iridescent Copper, Carbon Black, medium and water is brush applied over some dark areas for emphasis. Complete the painting using opaque and transparent paint colors to further deﬁ ne forms and add detail.

U1065_020-051_S2.indd 40 8/8/13 8:30 AM IDEAS

• Expand and personalize the metallic glaze formula in Step 1 by substituting colors and changing ratios. • For more speciﬁ c highlights apply opaque white paint. • Add variety to the unglazed metal areas with colored glazes (see Technique 7).

Emerald Nancy Reyner Acrylic and gold leaf on panel 53" × 40" (135cm × 102cm)

Subtractive glazing using the dark-colored metallic glaze formula in Technique 9 creates ghostlike mountains over a gold leaf surface. The leaf area revealed after subtractive glazing used Technique 7 to add red and green glazed color shifts.

U1065_020-051_S2.indd 41 8/8/13 8:30 AM TECHNIQUE 10 TARNISH EFFECTS

Exposure to air causes imitation gold leaf to tarnish over time. To quickly obtain MATERIALS LIST this antique quality, commercial tarnish solutions are available, but are strong and will disintegrate the metal leaf. This technique uses ammonia for an easy, Substrate inexpensive tarnish. Imitation gold leaf contains copper that reacts with ammonia Any painting surface leafed with to tarnish, as will copper leaf. Real gold leaf will not tarnish. To add faux patina imitation gold or copper leaf coloring, see Technique 11. (Steps 1–6, Technique 1), left unsealed

Products Acrylic (polymer) gloss medium, household ammonia, solvent- based gloss acrylic

Other Large plastic garbage bag, sawdust or wood chips, bucket and smaller 1 Prepare the Surface and 2 Prepare Setup and sized container Create a Design (Optional) Pour Ammonia Have ready a leafed surface using imitation Using a plastic garbage bag that is much larger gold or copper leaf following Technique 1, steps than the leafed surface, place a large bucket or 1–6. Do not seal the leaf until all the steps in this container inside. Add a smaller container inside technique are complete. the bucket as a pedestal and place a good You can opt to add designs by drizzling, amount of sawdust inside the bucket around pouring or brush applying acrylic gloss the pedestal or outside the bucket but in the medium on the leaf to create a design that garbage bag. Place the leafed surface on the will resist tarnishing in areas. Here acrylic gloss pedestal so it is protected from touching the medium is squeezed directly from the bottle sawdust and the plastic bag when closed. For onto the leaf surface in linear designs. Let dry a softer, mottled eff ect sprinkle dry sawdust until acrylic turns clear. The thicker the medium lightly over some of the leafed surface, other- is applied, the easier it is to peel off later. wise continue for an overall darkening. Pour ammonia over the sawdust mound (about one cup for a pillow-sized amount of sawdust). Avoid inhaling the fumes. Close the bag securely. Periodically open the bag to check the tarnish progress. Tarnishing can take 10 minutes or all day. When satisfi ed, remove the surface from the bag.

3 Finish and Seal Immediately remove any acrylic gloss medium by picking it off with your fi ngers (or let the medium remain on the surface to turn a green color). Here, lightly sprinkled sawdust has created a mottled eff ect. Follow instructions in Step 7, Technique 1 to seal.

UU1065_020-051_S2.indd1065_020-051_S2.indd 4422 88/8/13/8/13 8:308:30 AMAM Optional Effect Place the leaf surface face down directly on the ammonia soaked-chips for a more dramatic eﬀ ect. This tarnishes quickly and if left on ammonia too long will disintegrate the leaf.

An Almost Insignifi cant Shift (detail) Pamela Frankel Fiedler Oil, acrylic and gold leaf on canvas 48" × 36" (122cm × 91cm)

Squares of leaf are intentionally applied with gaps between them revealing the dark red underpainted surface. The leaf took on a beautiful green patina and along with the varying red patchwork grid add a textural and aesthetic interest to the background, masterfully setting oﬀ the blended skintones in the portrait.

U1065_020-051_S2.indd 43 8/8/13 8:30 AM TECHNIQUE 11 FAUX LEAF PATINAS

MATERIALS LIST A patina is a tarnish that colors or discolors metal. Pre-made commercial and ﬁ ne art patinas are too strong for the thin metal leaf, and will dissolve the leaf when Paint applied. Here’s an easy and fun trick using acrylic pastes to fake color patinas. To Iridescent Bronze, Carbon Black, tarnish or darken the leaf without any color or texture see Technique 10. Jenkins Green, Turquoise Phthalo Substrate 1 2 Any metal surface, or a painting surface using leaf and sealed as in Technique 1, or a surface painted with iridescent paints

Tools Painting knife or other application tool, ﬂ at paintbrush, container or mixing palette 3 Products A white absorbent acrylic paste

For Cleanup Water, water container

IDEA

Applying small amounts of metal- 1 Prepare the Surface and 2 Apply Color Washes lic fl ake gels like Black Mica Flake Apply Paste In a container or mixing palette, combine Iridescent Bronze with water 1:2 to create a and Gold Mica Flake in some areas, Start with a metallic surface. (i.e. Leaf the surface as in Steps 1–7, Technique 1. Use a sheet wash. Wet the surface well with water using a in addition to the white paste in metal surface or apply iridescent paint.) When spray bottle, sponge or brush. Brush or pour Step 1, will enhance the overall dry select one or more acrylic pastes that are the Iridescent Bronze wash over the watery faux patina eff ect. absorbent, white and opaque, such as Light surface. The wash will separate into rust and Molding Paste, Coarse Molding Paste, Crackle green colors if you’ve added enough water. Leaf Paste or Fiber Paste. areas with no paste applied naturally resist the Using a brush, knife or other application washes so no need to blot. Let dry undisturbed tool, apply paste over one-third of the metallic on a level surface. surface in selected layers. Vary the thickness of the paste. Create thin layers by scraping the 3 Intensify Color paste back with the knife instead of diluting the When dry a subtle patina eff ect is created. To paste with water. Let dry overnight. intensify colors, repeat Step 2 one or more times. Add Carbon Black, Jenkins Green and Turquoise Phthalo into the wash or drip these colors directly into wash puddles already on the surface. Here those colors were added and the patina eff ect is intensifi ed. 44

U1065_020-051_S2.indd 44 8/8/13 8:30 AM Sandbar Gail Henderson Acrylic on board 14" × 10" (36cm × 25cm)

A tarnish or faux patina eff ect is obtained here using an alternative to Technique 11. A glossy, colored, textured surface is created using a mixture of gloss gel and paint color. Applied over this (Technique 34) are washes of Iridescent Gold, Bronze and Silver. The top half has an additional layer of Fine Pumice Gel under the Iridescent washes for a soft refl ective eff ect.

Urban Landscape V Destiny Allison Acid and acrylic on steel 36" × 36" (91cm × 91cm)

Unlike the delicate leaf, this steel surface is strong enough to be colored with acid patinas then enhanced with acrylic paint and a ﬁ nal clear coat.

UU1065_020-051_S2.indd1065_020-051_S2.indd 4455 88/8/13/8/13 8:308:30 AMAM TECHNIQUE 12 DRAWING ON LEAF

MATERIALS LIST Drawing with materials such as pastel, conte, pencil, markers or charcoal present an exciting opportunity to contrast Substrate the glow of a metal leaf background. See Technique 43 for A surface prepared with metal leaf and sealed (see another metallic drawing surface. Technique 1) Most drawing materials such as charcoal, graphite pencils and chalk pastel, need a gritty or toothy surface created by Tools sanding in Step 1 and are otherwise unable to leave their Any preferred drawing materials, paintbrush, rag or mark on glossy metal leaf. Some drawing materials, such paper towels, spray bottle as markers and oil pastels, will work ﬁ ne on the leaf surface Products without sanding. Before sanding, test your drawing materials Waterproof sandpaper 220 grit, acrylic (polymer) gloss on the surface to see if it is necessary. medium

Other Water, water container

1 Sand the Surface to Add Tooth The leaf should be sealed with a solvent-based 13 clear gloss acrylic (Step 7, Technique 1). Add additional protection for sanding by brush applying two or more coats of acrylic gloss medium. Let fully dry (at least 6 hours or more). Add water to the surface with a water sprayer or brush. Start with a ﬁ ne grit (220) waterproof sandpaper, dip it in water, and sand the surface using circular motions with ﬁ rm pressure, continually adding water so it stays wet between sandpaper and surface. This keeps dry sanded acrylic particles from becom- ing airborne and therefore toxic. Frequently wipe away the wet sanded material with a rag or paper towel until the entire surface has been worked. Avoid sanding too deeply into the leaf layer. The sanded surface turns matte but will regain its glossy sheen after sealing in Step 3.

2 Draw Onto the Surface 2 Draw your image or design using a variety of drawing materials to create diﬀ erent line qualities. Avoid covering up the leaf surface entirely so it shows through for an interesting contrast.

3 Seal the Drawing Pour acrylic (polymer) gloss medium over the entire drawing. Gently pull the wide part of a knife across the surface to smooth the polymer without touching the drawing surface. Apply more polymer as needed to cover. Let dry. As an alternative to this step, spray with a solvent- based clear gloss acrylic.

Finished Example

U1065_020-051_S2.indd 46 8/8/13 8:30 AM Gold Magician Nancy Reyner Acrylic, charcoal, pencil and gold leaf on panel 10" × 10" (25cm × 25cm)

The variety of drawing materials used on this gold leaf surface show up boldly with the added tooth created by sanding in Technique 12. In addition, the use of strong darks, lights and bright colors work well with the gold.

Golden Blessing of the Sun Sara Novenson Pastel and gold leaf on panel 8" × 10" (20cm × 25cm)

Chalk pastel is used here adding an interesting soft, powdery tactile quality to contrast the shiny gloss of the gold leaf surface.

UU1065_020-051_S2.indd1065_020-051_S2.indd 4477 88/8/13/8/13 8:308:30 AMAM TECHNIQUE 13 GLITTER AND METAL FLAKES

MATERIALS LIST Refl ective materials, such as glitter and metal fl akes, guaran- tee an eye-catching experience, creating interesting back- Paint grounds or unusual abstract paintings. Paint colors are optional There are two ways of combining refl ected materials such as glitter and metal fl akes into a painting: either purchase Substrate ready-made acrylic products that are refl ective, or make your Any primed painting surface own. Ready-made ones combine refl ective materials with Tools an acrylic binder. There are a wide variety of these available Painting knife or other application and textural tools at art supply stores. To make your own, add raw refl ective materials, (such as glitter, pieces of glass or mica) to a gloss Products acrylic (polymer) medium or gel in a container and mix well. One or more refl ective acrylic gels or pastes Another option is to fi rst apply a thick layer of acrylic gloss For Cleanup gel onto a painting or surface, and while wet, sprinkle the Water, water container, paper towels or rags raw materials on top. Let dry as is or push them deeper into the gel with a knife.

VERMICULITE COARSE GOLD MICA FLAKE LARGE

COARSE ALUMINA GLASS BEAD GEL

GOLD MICA FLAKE SMALL BLACK MICA FLAKE SMALL 1 Apply Products Using a painting knife or other application tool, apply products directly onto a plain painting surface, or one that is prepainted with a color or image. Vary applications both thick and thin for a variety of eﬀ ects. Note, the products appear lighter and nonreﬂ ective when wet.

BLACK SILICONE CARBIDE PASTE RAW VERMICULITE Reﬂ ective Materials A sampler of several ready-made reﬂ ective acrylic products, each applied thickly and thinly with a knife over colored paint.

UU1065_020-051_S2.indd1065_020-051_S2.indd 4488 88/8/13/8/13 8:308:30 AMAM 2 Subtract Out Designs (Optional) Scrape through the wet products with textural tools to add linear and design eff ects. This fi nished example uses all the products from the sampler. A knife and other textural tools scraped back the products while wet to reveal the white background. Keep as a fi nished piece or continue applying more products, colored glazes, or collaged images until satisfi ed.

Rocky Road 2 Patricia Forbes Acrylic, paper, metal leaf and glass on panel 9" × 9" (23cm x 23cm)

Pieces of colored, recycled glass are embedded in gloss gel. Iridescent Copper and Iridescent Pearl are mixed with colored paint to create the background, and variegated leaf (Technique 2) adds a metallic accent in the center top half.

U1065_020-051_S2.indd 49 8/8/13 8:30 AM TECHNIQUE 14 METAL PAINT

MATERIALS LIST Iridescent paint (also known as metallic or metal paint) comes in a wide variety, off ering beautiful refl ective options for painting. Customize them with these tips Paint and techniques. For more information on iridescent paints see Section 3: Essential One or more acrylic modern paint Tips for Refl ective Paints. colors, several iridescent paints

Substrate Any primed painting surface

Tools Palette knives or other mixing and application tool, paintbrush, mixing palette

Products (Optional) Slow-drying acrylic gloss medium or gloss gel

For Cleanup Water, water container, paper 1 Make Iridescent Color Mixtures 2 Add Paint Color towels or rags On a palette or mixing plate, apply some of Make new piles on the palette by mixing each of a variety of iridescent paint colors a few drops of modern paint colors (more forming a semi circle along the outside rim of information on moderns in Section 1) into one the palette, leaving the center space free for iridescent or combination of iridescents. Here mixing. To extend the open time, add up to Phthalo Blue is mixed into Iridescent Stainless 30% slow-drying medium or gloss gel to each Steel to create a cooler color version of steel. quantity of iridescent paint on the palette. Create new color mixtures in the palette’s center by mixing combinations of two or more. Here Iridescent Silver is mixed with Iridescent Bronze to get an interesting new metallic color. Keep mixtures condensed into small, high piles instead of spreading out thinly so they stay wet longer. Mix as many combinations as you like.

3 Apply Mixtures onto the Surface The palette should now have a wide range of choices. Using a brush, knife or rag apply these to an unpainted surface or a surface prepainted with color or an image. Vary applications thinly and thickly to get a variety of tonal qualities.

U1065_020-051_S2.indd 50 8/8/13 8:30 AM While Turning Jill Moser Oil and acrylic on canvas 55" × 56" (140cm × 142cm) Photo credit: Kevin Noble

Iridescent Silver visually heightens the white ground underlying strong yellow and black gestural elements.

Shedding My Skin Bonnie Teitelbaum Acrylic on panel 48" × 36" (122cm × 91cm)

Iridescent Bronze paint adds a striking contrast with blue and black paint colors.

IDEAS

For more experimenting, try using a two- part patina solution found in art stores and online. These use iridescents that contain real metal with a compatible patina solution. Follow the instructions on the label for applying paint and patina solutions.

Visit artistsnetwork.com/acrylicilluminations to download a free demonstration. 51

U1065_020-051_S2.indd 51 8/8/13 8:30 AM