Gold Leafing on Canvas
By Judy Souliotis
Originally published in Needle Pointers, July 1998
We as teachers are constantly looking for interesting and challenging projects for our students. It could be new stitch variations and techniques, embellishments, experimenting with new fibers or various deviations from the norm to open the minds of students. So you could just see my mind churning when I was introduced to gold leaf or gilding techniques on fabric. Canvas is fabric, so why not try it?
When I found the supplier in New York City I explained what I wanted to do; and, even though gold leafing techniques are generally practiced on wood for framing or on paper for book edging, we were able to come up with an adhesive or glue that would work on needlepoint canvas. I experimented with the materials and was very satisfied with the way they worked that I did not try other adhesives.
There are many brands of adhesives, some of which I was told tend to discolor in time. Therefore, I stayed with the Permacoll Mirror Gloss Paper Size. It comes in 50, 100, and 250 ml size bottles. Unlike other glues, this brand did not need to become dry or tacky before use. This was an important time factor when teaching a class where the leafing had to be done before stitching could begin.
The next decision was what kind of leaf. There are many brands on the market from Japan, Germany, France, etc. There are also many types and different qualities. Gold is alloyed with silver, copper and other metals to achieve a variety of colors and shades. A higher gold content and/or greater amount of copper will result in deeper tones of leaf. The higher karat leaves are also more durable due to the higher gold content. In the lower karats of leaf, such as 18, 16, and l2kt, golds alloyed with silver or other metals achieve lighter colors. It generally comes in 3⅜" x 3⅜" squares sold in units called packs containing 500 leaves. A pack is divided into 20 books with each book containing 25 leaves.
There are three types of gold: surface, loose or patent. Surface gold may have a few irregularities and is often used where double gilding is required or the leaf will be distressed or toned. Too complicated for my needs.
Loose gold is assembled by placing each piece of gold leaf between pieces of thin rouged paper. Most often a gilder’s tip is used to removed them from the book. Use this only when necessary as it is so hard to handle.
Patent gold leaf, also referred to as transfer leaf, is gold leaf mounted to special tissue paper by a pressure process. A book of patent gold is assembled by placing each unit of gold leaf and tissue between pieces of thin rouged paper. They can then be removed one leaf at a time without disturbing the remaining leaves. It will stay on the tissue until it is pressed onto the prepared surface and the tissue backing is removed. Use a cotton ball and rub the back of the leaf paper when applying. Therefore a burnishing tool is not needed.
Even though gold leaf is the most popular, there are others in addition to the gold: silver and variegated. Silver leaf is made from genuine silver containing no gold or other alloys, which means it will tarnish like all objects made from pure silver. Variegated leaf is metal leaf which has been treated to create colorful patterns on the leaf and vary from pack to pack. These are only sold in loose leaf packs and are larger in size.
Up till now I have discussed only leaf that comes in sheets, but there are other ways to purchase it. It also comes on a roll and in a powder form called mica. It is so much easier to use the powdered form, which comes in about 40 colors; but the effect results in a softer appearance instead of a high sheen. I much prefer using an empty toilet paper tube. I covered one end of the tube with a piece of silk gauze. Then by stuffing sheets of loose variegated leaves down the inside and using a makeup brush as a pusher, I was able to sprinkle it on the desired area. This does involve gluing the entire area to be sprinkled even if you only want a spattering. That is why this glue is so good: it does not discolor when it dries. Try using a 2" flat foam brush to apply the glue. .
A new process has just been developed which is so much cleaner and easier to do if you have a particular shape involved. A pattern is cut and put on a piece of mylar in a wax coating in the desired shape. By turning it over onto the surface you want to cover and rubbing the back, you transfer the wax to the desired surface. Then you simply apply the leaf sheets, remove and brush away excess. There is no gluing required.
As in all new techniques, I experiment all the time and find my students come up with interesting results also. Play around with different stencils in the craft store which can give you interesting borders to enhance your stitching. Also, they can be used on your mat board to accent your stitched project. It's just called “having fun.”
Your basic start-up kit should include the following: glue, a book of gold leaf sheets, a small flat stiff craft brush to apply the glue, and a cotton ball.
If you wish to experiment on your own, please contact me for a starter kit or write directly to Baggot Leaf Company, 430 Broome Street, New York City, NY 100l3.
Judy Souliotis is a teacher of canvas and fabric embroidery who has taught nationally for ANG, EGA, NSCAE, Callaway, NAN Assembly at Greenbrier, as well as regional and local seminars. She is certified by EGA in Silk and Metal. Judy has studied with numerous instructors of Japanese embroidery and lived in Japan for several years: this combination gives her a unique insight into the intricacies of Japanese embroidery. She has served ANG as past president of the Massachusetts Chapter and Northeast Area Representative for Chapter Development.