Two thoughts I wanted to share, 1. Steal wool is great for using with the stripper, usually 0000 grade. 2. Using cotton swab is also good for cleaning details. Thank you for your wonderful videos
Thank you for allowing us into your studio to watch you at work. You are an amazingly gifted person and your calm and peaceful approach is inspirational. I’ve had gilding equipment for several years now but it has been hidden away in a drawer. Watching your tutorials has really encouraged me to have a go.
I've used Hammerite on 2 projects years ago. Once, when fixing an antique cast iron fence that a truck backed into (a smooth glossy dark green), and to paint a heavy metal pot rack we made.(hammered-texture metallic copper color). Is is very rugged stuff that looks great even when not gilded. It blows Rustoleum away. I'm glad that it's still made.
Beautiful results! Oil guilding looks much easier than water guilding. It rather reminded me of the transfer tattoos from my Cracker Jack's.😊 I may just try it if I find something ❤
@chalkline - That's always the way with any project of any kind - from cooking to woodworking to housekeeping. The better the prep, the better the result.
Agh!... the squeak test. Like fingernails on a blackboard. YIKES 😬 He’s definitely a stunner. Your client must be really happy. Aww Luna, what a sweetheart 🥰
I use the gloss because it's slow drying and the paint brush lines flatten out. Matt usually dryes faster and can leave brush strokes which you can see with the gold on top.
Thank you Ruth, lovely video and restoration. I trained as a water-gilder back in the 80s but moved on to do mostly oil gilding in interiors and some outside work. (I've picked up some tips from your water gilding videos, btw: I too learned some bad habits, back in the day!🤣) Anyway, first point: years ago Hammerite instructed one to apply a second coat within 24hrs, after which it could not be over painted for 6 months! Does this still apply or perhaps they've changed the formula?🤔 Second point: we always added a little yellow ochre to Lefranc size, to see where we had sized already. One can also add lots (as YO is a natural drier) when you're in a hurry, or when the weather is against you! We've left size for 5 days in the past!! but 48hrs was very common. Third: unless it's really howling on outside work, we would still always use loose leaf, straight from the book with the tip. It's much, much quicker, although more wasteful!😮 We would skew-off/in with a squirrel mop (like french polishers use). They're super soft and when you've layed 100 books, skewing-off can be exhausting with a small brush! Finally, a step we sometimes added was to use cotton wool in really hot water to wash over the finished gilding. The theory is that it 'stretches' the size and pulls out the myriad fine wrinkles in the gold. It also removes the tiny raggedy edges which dry-skewing often miss. ........ My friend George Clough RVM and I, many years ago, gilded the cross & orb atop the Frauenkirche, in Dresden. They insisted it be triple gilded! which we thought a little excessive, however the second gild certainly did increase the lustre overall. (The 3rd was debatable!)😂 Anyway, thank you again, I really enjoy your videos, and am terribly envious of your workshop!!!🙏
A boat builder was once asked by an apprentice about why he took so much care in making things that would never be seen, so perfect when nobody but him would ever see them. He replied, "If the only ones who know are me and God, it is two too many." The Artisan who made that Rooster was such a person. Ruth if you have a second, "If you lay gold over copper, will there be a mild electrical current created by two different metals, that would end up in corrosion? I am probably asking another dumb question. I adore your work Ruth and the fact you have actually answered my questions has left me in awe.
@@RuthTappinGilder that's what I was thinking but of course I had to ask. There was a similar case years ago, where a guy put lead paint on the bottom of his aluminium boat that he kept in saltwater. Less than two weeks later....🤷
You are a talent indeed. Very inspiring to listen to your tips and advise of downfalls. I now understand what can be gilded and what to avoid. I think the cockerel looks splendid and the feathers and folds will make a difference to a completely flat and smooth finish no matter how far away. I would have loved to see him in situ, can you tell us which church? Beautiful work.
Thank you, that inspired me to have a go a gilding my own weathervane. I've just finished the gilding, it's not quite as perfect as your cockerel, but when it's on the top of my house it will look magnificent. So pleased I came across your video. Thank you so much.
Really enjoyed the video, following the whole process from start to finish, oh, and also your lovely dog! 😊. Beautiful craftsmanship! Looking forward to your next video
AMAZING JOB RUTH !!!!! THANK YOU FOR YOUR DETAILED TUTORIAL, SIMPLE AND INCREDIBLY EFFECTIVE! I LOVE YOUR WORKSHOP!!!! AND YOUR PUPPY ! BUT WHAT I LOVED THE MOST, WAS THE SATISFACTION SMILE AT THE END..!!!! GOOD JOB !!! GREETINGS FROM MIAMI.
Incredible work Ruth, thank you for sharing your process. I wanted to ask, I am looking to guild wooden ornaments with genuine gold leaf, but they will be handled. Would you put a varnish/lacquer over the gold leaf? And if so, would that dull the shine of the leaf? Thank you
May I add a comment, for faster paint stripping apply paint remover generously and cover with cling film, leave over night and wash off this will save hours. Congratulations on your excellent videos even as a, traditional Signwriter 0f 50 years your teaching me loads. Bless yah
Unfortunately the paint stripper will eat into the compo decoration and desolve it. That's why I put it on and take it off not long after.. if it's carved wood you could do as you suggest. 😁
Sometimes I add a tiny bit of universal tint to my size so I can see where I've missed. In this case, perhaps a little bit of red tint? Or yellow oxide just to make it a tiny bit darker? Love it! Do you worry at all that the gold will get damaged when they are putting it back up? Do you tell them to wear cotton gloves? :P
I had a bad experience with off the shelf tinted oil size. Never thought about tinting my own. Mostly I just use the reflections. How it got back up in one piece I don't know, those church spires are very high. 😬 R
Thanks so very much for your wonderful explanation of the oil gilding method. Perhaps I missed it, but did you say how old the Cockerel was? It had such a lovely shape.
Thanks for this nice video, I want to gilder my own weathervane, only it is much much smaller but from the same material with the same isseus. The tip for the color of the paint I'm also going to use.
Yes you can. The problem with the rain is it getting in behind the gold, the gold won't tarnish. You can also dubble gild to make sure there is no holes in the gilding.
Sorry to be coming late to this video, but a quick question. The arrow shaft: could that have been "gilded" in something like aluminum leaf as an offset to the gold? Excellent vidoe.
Ruth, this was a great job and I was especially impressed how you repaired and re-moulded the damaged area with the patch and screws! It is so much better than the previous work. I have been watching all your videos, since I would like to learn gilding well enough to refinish some of the frames I've used for the past 35 years, and possibly even create new ones of my own. It is a real art, but it would be very time consuming for someone who already has art (painting) as a full time passion so I have to take it slow. Also, some of the water gilding tools are pricey. So...I was also interested in the transfer method you did on this video. Could you make a video on the tools/techniques of transfer gilding like you did with the water gilding? Also, is transfer gilding considered inferior in frame leafing in any way? I'd like to learn all I can about both techniques. Sorry for such a long comment. Thanks for all the videos. Glad I discovered your channel as well as the Salvage Hunters: The Restorers channel.
Hi, Thanks glad you like the videos and finding them helpful. I will be making some oil gilding videos. Most frames from the end of the 18C use both water and oil gilding. Usually oil gilding is around 70-80% of the gilding. The water gilding is on the high parts mostly and is burnished. The oil gilding creates a nice matt contrast.
Hi Ruth. Your best video to date. Fascinating and informative. I've saved it for reference. What was the filler you used? Lilliput?. How many hours did you put into the job? 🤔 A pleasure to watch.. All the best Mike
Hi Mike, hope you've well, thanks for watching 😊 Not too bad hours wise 14 in total. The filler was Milliput, you can't use it on the frame repairs as gesso won't hold to it. But great to use if painting over before gilding
Hi Ruth I have been watching your videos and today i was watching the one with the cockerel weathervane and i was thinking of regilding our Tabernacle in our church witch is metal, and i was wondering the best way, is it with kolner instacoll or the way you gilded the cockerel.
I would say oil gilding the way this weathervane was gilded. Kolner doesn't stay bright it dulls in a few weeks. I'll be putting an update in one of my videos about Kolner.
When you were applying the Bole (Size?) to the Cockerel and stated it is hard to see it (as it is clear?), didn't you once discuss in the 18th C they used a purple Bole, and during Victorian times another color of Bole. Could you not have used a colored Bole then so you could see it as it's applied? Very interesting video...just subscribed to/liked your Vlog.
Bole is the coloured clay based paint under water gilding. You can't use bole on metal it need so go onto a porous surface. So I used metal paint on this. The oil size is clear. You can tint it but that can mess with the drying times.
@@svetlanamartin3796 not something I would use. You don't have to paint metal before oil gilding. Its mostly for outside pieces for extra protein and a nice colour under the gold.
Very informative, thank you! I am a professional cabinetmaker experimenting with gold leaf, and I find it fragile (clearly I'm doing something wrong). Could you tell me how long the oil mixtion takes to fully harden? Do you ever seal it with shellac or any other product? Thanks!
I like to let the weathervanes dry for a week because they will be handled putting them back up the church spires. When you gild gates and railings you are outside and the gold is ok as soon as it goes on as long as it's not touched. It's just when somthing is handled it's best to wait.
Really enjoyed your video, I gild the inside of wooden hollowforms could you tell me why you use oil size instead of acrilic, and is it possible to get colored size so you know where you put it, I often work through small openings and Easley miss bits. Thank you for your help. Richard
Glad you like the videos 😊 Acrilic size never truly drys. It's ok for crafts but not antiques or outside. Oil size can last well over 100 years if not touched often. You use to be able to get tinted oil size but I can't see it for sale anywhere. I think you can tint it with oil paint but it can mess up the drying times. Have a go you should get a better finish. Just learn how it feels when you get the squeek with your knuckle. As putting the gold on too soon will look like orange peel.
Just watched you copper leaf the inside of a piece. If you tried oil size you would need to seal the wood, I use button polish. You will get a less matt look to the gilding with oil. But I liked what you did. 👍 I tried woodturning once 😬 great to watch but not keen to try it again.
@@RuthTappinGilder thank for your advice, I have some oil size so I'll try that, I always seal the wood with a few coats of shellac, I'm always interested in trying to understand more, thanks for your help.
@@cablenetworksystems it use to mean that when oil size still had lead in it. Now it can depend on room temperature how long the pot has been open for. Best to do some tests before.
Two thoughts I wanted to share, 1. Steal wool is great for using with the stripper, usually 0000 grade. 2. Using cotton swab is also good for cleaning details.
Thank you for your wonderful videos
Maybe those little details in the feathers will reflect the light at certain times of the day. A prism of reflection 😊
Thank you for allowing us into your studio to watch you at work. You are an amazingly gifted person and your calm and peaceful approach is inspirational. I’ve had gilding equipment for several years now but it has been hidden away in a drawer. Watching your tutorials has really encouraged me to have a go.
Thank you, glad I've set you off on your gilding jurney 😁
Many Thanks
Much admire your skill and work.
Watching your work i tended to forget you were Producer , Director and Camera Tech too.
Nice one and will only get better, Watch out Drew!
Thanks ☺ And hours of learning video editing 😬 but enjoyed it. Next one in the pipeline.
I've used Hammerite on 2 projects years ago. Once, when fixing an antique cast iron fence that a truck backed into (a smooth glossy dark green), and to paint a heavy metal pot rack we made.(hammered-texture metallic copper color). Is is very rugged stuff that looks great even when not gilded. It blows Rustoleum away. I'm glad that it's still made.
Nice to see somebody taking the time to do a job properly with real love and care.
Came back to re-watch this and have to say that the editing is really great.
Beautiful results! Oil guilding looks much easier than water guilding. It rather reminded me of the transfer tattoos from my Cracker Jack's.😊 I may just try it if I find something ❤
You did finish great job!👍👏🩷
Thank you 😊
It really turned out beautiful. As always on these projects it seems the prep work is the most important part.
I am more of a sander than a gilder! 😁 that's how you get good gilding.
@chalkline - That's always the way with any project of any kind - from cooking to woodworking to housekeeping. The better the prep, the better the result.
Extra points if you gild the spider!
Agh!... the squeak test. Like fingernails on a blackboard. YIKES 😬
He’s definitely a stunner. Your client must be really happy.
Aww Luna, what a sweetheart 🥰
If you used a matt yellow under paint the oil size will differentiate visually when you come to apply it .
I use the gloss because it's slow drying and the paint brush lines flatten out. Matt usually dryes faster and can leave brush strokes which you can see with the gold on top.
Thank you Ruth, lovely video and restoration. I trained as a water-gilder back in the 80s but moved on to do mostly oil gilding in interiors and some outside work. (I've picked up some tips from your water gilding videos, btw: I too learned some bad habits, back in the day!🤣)
Anyway, first point: years ago Hammerite instructed one to apply a second coat within 24hrs, after which it could not be over painted for 6 months! Does this still apply or perhaps they've changed the formula?🤔
Second point: we always added a little yellow ochre to Lefranc size, to see where we had sized already. One can also add lots (as YO is a natural drier) when you're in a hurry, or when the weather is against you! We've left size for 5 days in the past!! but 48hrs was very common.
Third: unless it's really howling on outside work, we would still always use loose leaf, straight from the book with the tip. It's much, much quicker, although more wasteful!😮
We would skew-off/in with a squirrel mop (like french polishers use). They're super soft and when you've layed 100 books, skewing-off can be exhausting with a small brush!
Finally, a step we sometimes added was to use cotton wool in really hot water to wash over the finished gilding. The theory is that it 'stretches' the size and pulls out the myriad fine wrinkles in the gold. It also removes the tiny raggedy edges which dry-skewing often miss.
........
My friend George Clough RVM and I, many years ago, gilded the cross & orb atop the Frauenkirche, in Dresden. They insisted it be triple gilded! which we thought a little excessive, however the second gild certainly did increase the lustre overall. (The 3rd was debatable!)😂
Anyway, thank you again, I really enjoy your videos, and am terribly envious of your workshop!!!🙏
Really Magnificent ... what you do ... very lively compliments
Did gilding years ago attempting again now,,,o!dear thank goodness watching you for a few TO! short hours,,I think!🥴🤷♂️
A boat builder was once asked by an apprentice about why he took so much care in making things that would never be seen, so perfect when nobody but him would ever see them. He replied, "If the only ones who know are me and God, it is two too many."
The Artisan who made that Rooster was such a person.
Ruth if you have a second, "If you lay gold over copper, will there be a mild electrical current created by two different metals, that would end up in corrosion? I am probably asking another dumb question. I adore your work Ruth and the fact you have actually answered my questions has left me in awe.
I've never layed gold directly on copper. There is always paint and the oil size between. So 🤞 there shouldn't be a problem.
@@RuthTappinGilder that's what I was thinking but of course I had to ask. There was a similar case years ago, where a guy put lead paint on the bottom of his aluminium boat that he kept in saltwater. Less than two weeks later....🤷
You are a talent indeed. Very inspiring to listen to your tips and advise of downfalls. I now understand what can be gilded and what to avoid. I think the cockerel looks splendid and the feathers and folds will make a difference to a completely flat and smooth finish no matter how far away. I would have loved to see him in situ, can you tell us which church? Beautiful work.
Thanks 😊. Its on St Ann's Church, south Tottenham.
watta job, you're amazing!
Thank you 😊
Thank you, that inspired me to have a go a gilding my own weathervane. I've just finished the gilding, it's not quite as perfect as your cockerel, but when it's on the top of my house it will look magnificent. So pleased I came across your video. Thank you so much.
Really enjoyed the video, following the whole process from start to finish, oh, and also your lovely dog! 😊. Beautiful craftsmanship! Looking forward to your next video
Thanks, enjoyed this one, next one in the pipeline.
What a lovely and bespoke item to work on, a stunning finish from a master gilder 🐓
Thanks 😊 it's so nice to get to work on such lovely pieces.
AMAZING JOB RUTH !!!!! THANK YOU FOR YOUR DETAILED TUTORIAL, SIMPLE AND INCREDIBLY EFFECTIVE! I LOVE YOUR WORKSHOP!!!! AND YOUR PUPPY ! BUT WHAT I LOVED THE MOST, WAS THE SATISFACTION SMILE AT THE END..!!!! GOOD JOB !!! GREETINGS FROM MIAMI.
Beautiful work Ruth, well done and thanks for sharing
Absolutely brilliant, such a gifted young lady with truly incredible talent. Love her pup as well!
Lovely !!! Thank you for sharing your skills ! I will try to do it on a clock that my mum has it when she was 15 almost 100 yeas ago ! THANKS !!!!
OMG, beautiful!!! Thanks for sharing.
Incredible work Ruth, thank you for sharing your process.
I wanted to ask, I am looking to guild wooden ornaments with genuine gold leaf, but they will be handled.
Would you put a varnish/lacquer over the gold leaf? And if so, would that dull the shine of the leaf? Thank you
Anything over the leaf lessen the look of the gold. Traditionally gold which will be touched like on a chair is sealed with clear shellac.
Genius level skill.
Stunning! Thank you for sharing your process.
May I add a comment, for faster paint stripping apply paint remover generously and cover with cling film, leave over night and wash off this will save hours.
Congratulations on your excellent videos even as a, traditional Signwriter 0f 50 years your teaching me loads.
Bless yah
Unfortunately the paint stripper will eat into the compo decoration and desolve it. That's why I put it on and take it off not long after.. if it's carved wood you could do as you suggest. 😁
Sorry thought you had committed on the paint stripping video on the mirror frame. Yes you are right on metal it wood make sence.
Sooooo beautiful!! Nice work!
Beautiful work... 👌
Enjoyed watching the craftsmanship ( yours 😉)
Thank you. 😊 It's great working on something so nice.
That was really cool! I liked your fix of the patch.
You don't do anything to seal or protect the gold? No oil or varnish or anything?
😁 Thanks. As it's almost pure gold (23.5ct) it won't tarnish. Its only 22ct and below that needs sealing.
Sometimes I add a tiny bit of universal tint to my size so I can see where I've missed. In this case, perhaps a little bit of red tint? Or yellow oxide just to make it a tiny bit darker? Love it! Do you worry at all that the gold will get damaged when they are putting it back up? Do you tell them to wear cotton gloves? :P
I had a bad experience with off the shelf tinted oil size. Never thought about tinting my own. Mostly I just use the reflections.
How it got back up in one piece I don't know, those church spires are very high. 😬 R
Thanks so very much for your wonderful explanation of the oil gilding method. Perhaps I missed it, but did you say how old the Cockerel was? It had such a lovely shape.
I didn't know it's age. I would guess at late Victorian.
Thanks for this nice video, I want to gilder my own weathervane, only it is much much smaller but from the same material with the same isseus. The tip for the color of the paint I'm also going to use.
Hi Ruth love your work and videos would you not have to lacquer the gold to protect it from the elements ?
Yes you can. The problem with the rain is it getting in behind the gold, the gold won't tarnish. You can also dubble gild to make sure there is no holes in the gilding.
Thank you for the demo. I have a horse to gold leaf if the boss lets me.
*I would wear eye protection when working with paint stripper!*
Sorry to be coming late to this video, but a quick question. The arrow shaft: could that have been "gilded" in something like aluminum leaf as an offset to the gold? Excellent vidoe.
Yes it could have been. But for this job the church asked for it to be the same as it was.
Ruth, this was a great job and I was especially impressed how you repaired and re-moulded the damaged area with the patch and screws! It is so much better than the previous work. I have been watching all your videos, since I would like to learn gilding well enough to refinish some of the frames I've used for the past 35 years, and possibly even create new ones of my own. It is a real art, but it would be very time consuming for someone who already has art (painting) as a full time passion so I have to take it slow. Also, some of the water gilding tools are pricey. So...I was also interested in the transfer method you did on this video. Could you make a video on the tools/techniques of transfer gilding like you did with the water gilding? Also, is transfer gilding considered inferior in frame leafing in any way? I'd like to learn all I can about both techniques.
Sorry for such a long comment. Thanks for all the videos. Glad I discovered your channel as well as the Salvage Hunters: The Restorers channel.
Hi, Thanks glad you like the videos and finding them helpful. I will be making some oil gilding videos. Most frames from the end of the 18C use both water and oil gilding. Usually oil gilding is around 70-80% of the gilding. The water gilding is on the high parts mostly and is burnished. The oil gilding creates a nice matt contrast.
@@RuthTappinGilder very interesting. Thanks:)
*"Craftsmanship"*
Beautiful
Hi Ruth. Your best video to date. Fascinating and informative. I've saved it for reference. What was the filler you used? Lilliput?. How many hours did you put into the job? 🤔 A pleasure to watch.. All the best Mike
Hi Mike, hope you've well, thanks for watching 😊
Not too bad hours wise 14 in total. The filler was Milliput, you can't use it on the frame repairs as gesso won't hold to it. But great to use if painting over before gilding
Thanks for the information Ruth. Much appreciated
Will it still look like realistic gold if we coat a final layer of polyurethane on top of the gold foil for protection?
It won't look great. If the gold is not going to be handled and the gilding has no gaps it should be ok.
Hi Ruth
I have been watching your videos and today i was watching the one with the cockerel weathervane and i was thinking of regilding our Tabernacle in our church witch
is metal, and i was wondering the best way, is it with kolner instacoll or the way you gilded the cockerel.
I would say oil gilding the way this weathervane was gilded. Kolner doesn't stay bright it dulls in a few weeks. I'll be putting an update in one of my videos about Kolner.
Hi Ruth
Thanks for your quick reply love all your videos .
Question
Can you recommend a good supplier
Ken
@@kbruce7440 if you're in the uk then gold leaf supplies are very good.
When you were applying the Bole (Size?) to the Cockerel and stated it is hard to see it (as it is clear?), didn't you once discuss in the 18th C they used a purple Bole, and during Victorian times another color of Bole. Could you not have used a colored Bole then so you could see it as it's applied? Very interesting video...just subscribed to/liked your Vlog.
Bole is the coloured clay based paint under water gilding. You can't use bole on metal it need so go onto a porous surface. So I used metal paint on this. The oil size is clear. You can tint it but that can mess with the drying times.
Thanks for the video, very informative. What yellow paint are you using? Usual for metal from a hardware store or a special one?
Just hammerite smooth metal paint
@@RuthTappinGilder
Sorry to bother you, would oil paint work from an art store?
@@svetlanamartin3796 not something I would use. You don't have to paint metal before oil gilding. Its mostly for outside pieces for extra protein and a nice colour under the gold.
Very informative, thank you! I am a professional cabinetmaker experimenting with gold leaf, and I find it fragile (clearly I'm doing something wrong). Could you tell me how long the oil mixtion takes to fully harden? Do you ever seal it with shellac or any other product? Thanks!
It depends on temperature but can take a week or two. Shellac is a good sealer for things that will be touched.
Question - so after a week or so it's ready to go outside into the elements?
I like to let the weathervanes dry for a week because they will be handled putting them back up the church spires. When you gild gates and railings you are outside and the gold is ok as soon as it goes on as long as it's not touched. It's just when somthing is handled it's best to wait.
Beautiful work- you are so talented! I am curious about your gold application brush. Is it squirrel?
Thanks 😁 The brushes I use for oil gilding are just artist nylon brushes.
Really enjoyed your video, I gild the inside of wooden hollowforms could you tell me why you use oil size instead of acrilic, and is it possible to get colored size so you know where you put it, I often work through small openings and Easley miss bits. Thank you for your help.
Richard
Glad you like the videos 😊
Acrilic size never truly drys. It's ok for crafts but not antiques or outside. Oil size can last well over 100 years if not touched often.
You use to be able to get tinted oil size but I can't see it for sale anywhere. I think you can tint it with oil paint but it can mess up the drying times.
Have a go you should get a better finish. Just learn how it feels when you get the squeek with your knuckle. As putting the gold on too soon will look like orange peel.
Just watched you copper leaf the inside of a piece. If you tried oil size you would need to seal the wood, I use button polish. You will get a less matt look to the gilding with oil. But I liked what you did. 👍 I tried woodturning once 😬 great to watch but not keen to try it again.
@@RuthTappinGilder thank for your advice, I have some oil size so I'll try that, I always seal the wood with a few coats of shellac, I'm always interested in trying to understand more, thanks for your help.
Shouldn't there be a top coat applied for protection?
It's gold so it won't tarnish.
So no sealer or top coat? Just the sizing and leaf?
It's gold so it won't tarnish.
@@RuthTappinGilderI thought you always had to finish anything you leafed with a clear wax?
@@fabshelleyg6214 it's gold so it won't tarnish
Is there still polishing after this when it's fully dried? Or is that only with water gilding?
Yes only water gilding, you can't burnish oil gilding
@@RuthTappinGilder Thank you. Love your video's, i knew you from the restorers, glad i found your YT
No protective varnish or anything on the gilt?
Frames don't need it. Gilt chairs do as they will be touched. I understand different countries sometimes do.
@@RuthTappinGilder Ah got it thank you Ruth!
2 things: I thought you couldn’t gold leaf metal, and you don’t burnish it?
You can oil gild a lot of things including metal. You can't burnish oil gilding just water gilding.
What’s the song that starts at 15:44? :)
Hi, sorry don't know, it's just free music that comes with the video editing software, filmora 9.
pls how to protect from weather
The gold is the protection, you can dubble gild if worried about it.
@@RuthTappinGilder thank you Ruth
What oil you are using?
Le Franc 12 hour.
@@RuthTappinGilder 12 hour resting u mean?
@@cablenetworksystems it use to mean that when oil size still had lead in it. Now it can depend on room temperature how long the pot has been open for. Best to do some tests before.
@@RuthTappinGilder understood, 🙏