Distressing Silver Guilt Paint

[Graysalchemy]

I am still experimenting with silver guilt paint. I have made my own silver guilt paint similar to Pete Bingham, so I have applied a base of terracotta over washed with a cream and then applied a thin layer of wax then the paint let it dry and then buff as per Pete's instructions. Now I am wanting to wash over the silver and then buff up the highlights again back to the silver.

My problem is that When ever I apply a water based paint over it and wipe it of the highlights in removes the silver, any thoughts.

One I did earlier

[prospero]

That's why I don't use the PB system.

Gilt powder bound in varnish is much tougher. You can apply a wash over it and it won't rub off. And if you do overdo it you can always dab a bit more on.

[Graysalchemy]

Thanks Prospero

The PB system does allow me to work quicker which is what I need to do. Could I varnish over it or will that pull of the silver?

[prospero]

I think the best thing you can do is try flicking a bit more silver after you apply the wash. If you do it with a lightly loaded brush hopefully it will hit the spots that have been rubbed off without hitting the low points that the wash has collected in.

The Everest gilding is slightly weird in that the gilt is applied on a waxed surface. You wouldn't want to apply varnish on a waxed surface.

I've tried gilding using this method. Sometimes the gilt sticks well, sometimes you can scrape it off with a fingernail. It's great if you want just a light coating of gilt, but I find you can't really build up a more solid layer. It is durable enough for normal handling but not quite durable enough for my liking.

[Gus]

Gilt powder bound in varnish is much tougher.

I have not mixed up any powders yet, but Mark (NYAF) showed us a recipie on his course. His was also applied on top of wax.

Would you be willing to share your recipie for the gilt varnish and how it is applied - is it straight over the base coat?

Thanks

[JFeig]

The key to any toning process is to layer over layer with materials that will not remove the bottom layer. That is why shellac over a white spirit varnish is good. Or visa versa. Paste waxes with a white spirit base will "slowly" remove spirit varnish allowing for interesting blending effects. Casein (milk) or tempra (egg yoke) based paints will also allow for interesting effects.

[prospero]

You can use the ready mixed Liberon Gilt Varnish. 'Trianon' is the most useful colour. It comes in 30ml pots which are not economical for commercial use, but you can get 250ml tins which are only about twice the price of the pots.

The only reason I started mixing my own is that they stopped selling the base varnish separately and it became too wasteful. It took a while to search out a varnish that had the same properties. When I did find one I had about 15 250ml tins of sludge in the bottom. The powder will sink to the bottom if you leave a tin to stand, which is great as sometimes I want a clear finish with just a hint if gold. But once you have skimmed the clear off it gets thicker and thicker. I scooped out the 15 tins and added fresh varnish which filled a 2lb jam jar and lasted about 2 years.
I use Robertson's 2.5 gold power (burnishing grade) mostly.

The main thing is, from my point of view, is that the varnish is soluble in white spirit and fast drying. Marabu 'Klarlak' gloss is what I have been using. Water-based varnish works just as well, but I find from a practical perspective there isn't the control I need. Once it's dry you can't alter it easily and not so good if you have to touch up dings. You can strip the gilt off an entire frame with spirit-based varnish without disturbing the basecoats.

I apply it with a soft brush, lightly loaded and dabbed on with a stippling action. You can carry on working the surface until you achieve the desired effect. Once it's dry it's very durable and you can apply water-based paint on top as a toning wash.

Silvers are trickier than golds. Liberon have disco'd the nice silvers they used to do.

[Graysalchemy]

I have been playing with silver today and found using a mix of Robertsons burnishing silver with a smaller amount of pale gold and laying it over a cream base works quite well.

[Not your average framer]

When ever I apply a water based paint over it and wipe it of the highlights in removes the silver

The wax is the binder for the bronzing powder particules. You need to brush on a generous coat of wax and stipple the silver paint into the wax and then heat the wax with a hot air gun to melt the wax and evapourate the solvent in the wax.

Then after it has fully cooled down again the wax will be hard and ready to buff with a soft cloth, or tissue.

Allistair, if you've still got my phone number, give me a buzz and I'll talk you through another way of doing this.

[prospero]

Yeah. I've like to mix a bit of gold into the silver sometimes. Takes the blueyness off the silver.

In the old days they used to apply a orangey glaze over bright silver leaf. Gives a look that isn't really gold but not really silver.
More to save the cost of gold leaf if anything but the effect is quite pleasing.

[Graysalchemy]

Allistair, if you've still got my phone number, give me a buzz and I'll talk you through another way of doing this.

Thanks for that I may well ring you tomorrow, I think perhaps that is where I have been going wrong not enough wax. I cut down the amount of wax because I couldn't get the paint to stay on, but I understand know.

[Not your average framer]

Allistair, You can apply the bronzing powders mixed with either, Roberson's Gilt Wax Medium, or Picreator's Renaissance Wax. Both of these are synthetic microcrystaline waxes and therefore prevent tarnishing, because they create a gas blocking barrier around the bronzing powder particules.

If you want to use Black Bison waxes like Pete Bingham does, then you need to mix the bronzing powders with a liquid which forms a chemical barrier around the bronzing powder particules. The substance which Pete Bingham uses is a commerical product, but as you will no doubt have already guessed he keeps this a closely guarded secret.

I have my own water based based formula, which uses a silicate based anti-tarnish barrier system, together with a powerful wetting agent to stop the bronzing powders from just floating on the top of the solution, instead of mixing and dispersing in to the formulation. I'm not sure if we discussed this last time you phoned me, but if I didn't, then I can explain that over the phone when you call me.

[Graysalchemy]

We did discuss the silicate method Mark when we spoke last time, it certainly works well, I think it is the wax bit which is the problem, I don't think I was using enough. I will try and give you a ring tomorrow.