GOLD LEAF BUTTERFLY

 

1. Start with a primed, painted and varnished surface that is smooth, no ridges, bumps or  brush marks.

 

2. Using pure talcum powder, apply with a cotton ball to the prepared surface to form a barrier so the gold leaf will adhere to only the applied gold size.  Brush off excess talc as the grainy texture of the talc could show through the gold as bumps.

 

3. Transfer design outline to surface using line drawing on tracing paper, stylus and a transfer paper.

 

4.  Using an appropriate size brush, apply quick gold size to the traced design.  Do not paint the antennae yet!  The thinner and free of brush strokes coat of gold size the better.  Also best to paint a test spot on another surface to use for testing tack of gold size.

 

5.  The gold size should dry to proper tack in 20 - 30 min.  Test the tack on the test spot by touching a knuckle to the wet size.  If it really sticks and leaves a mark, the size is still too wet, but if it makes a tick sound and knuckle easily comes away from the wet size and does not leave a mark, the tack is good for gilding.

 

6. Now paint the antennae with a fine liner brush.

 

7.  Prepare the gold leaf.  Whether using the gilder's pad, knife and tip method or mounting the gold on waxed paper method, prepare the gold using 23 or 24 karat.  Cut to proper size to  cover the unit.

 

8.  Lay gold leaf on the wet size and cover with a rouge paper if using loose gold. 

 

9.  Press the gold leaf into the wet size using a "bob" (cotton ball or cotton wadding covered with a soft fabric, i.e.: ultrasuede and tied).  It is important to press down all over the unit so the gold is adhered to the size.  Do not rub or twist the "bob" or use your finger, this will damage the gold leaf.

 

10.  Remove the rouge paper/waxed paper and check for holes in the gold.  Any holes can be covered immediately using some excess gold from around the unit.  Pick up  excess gold with a soft brush such as a Raphael 803 Petit Gris and place over the hole and place a rouge paper over and press down again with the "bob".

 

11.  Using a soft brush such as the above Raphael, gently go around the perimeter and remove the excess gold. Can save the pieces in a box or discard.

 

12.  Remove the remaining bits of gold leaf with a Swiffer cloth, very gently.  Gold is a metal and will scratch, so use caution and a soft touch.

 

13.  Shaping and shadows are created by etching or drawing lines in the gold leaf.  Best done immediately before the gold size has a chance to dry.  Etching can be done freehand or some of the major features can be traced onto the gold using the line tracing and a stylus, but very lightly.  Etch the shapes with a bamboo skewer or sharp tool such as the point from a compass set.  Proceed with a light hand as if writing.  The shadows are achieved with a finer point (i.e.: a #10 or 12 quilting needle glued into a croquill pen holder.  The darker shadow has more etched lines and naturally the lighter shadow has fewer etched  lines.  Do not draw, use a sweeping arcing motion.

 

14.  Clean the excess bits of gold pieces with Swiffer cloth.

 

15.  For additional dimension, use transparent paints.  Burnt Umber, Burnt Sienna, Alizarian Crimson and Mars Black.  Using quick gold size for medium, paint butterfly body and tail - burnt umber.  Head, very edge of wings and two spots on lower wings -  Alizarian Crimson.  Wider detail on edge of wings - burnt sienna.  Eyes and detail on upper wings - Mars Black.

 

16.  Let gold leaf dry/cure at least a week or two before varnish overcoat and finishing method. 

The actual size of pattern is for the outside rectangle 5 3/4 x 4 inches.  The butterfly is 2 1/2 x 1 3/4.  Anyone can increase or decrease the size as they desire.  The actual background for the butterfly is black in the oval and grained in the next shape and all on a background of Venetian Red mixed with American Vermillion. 

- Carol Heinz