Art Deco Gold Leaf Glass Sign
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- เผยแพร่เมื่อ 21 พ.ย. 2024
- In this video, I turn a simple art deco design into a stunning 3D gold sign
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Art Deco Design
Absolutely Stunning. Thanks for sharing.
Thank you! Cheers!
Hey Paul ... I wear the same outfit to pick up chicks... Suuuure... Great post as always..... To be honest I avoid most chemicals these days other than chip glass glue... Plus the issues of disposal ... it's a fantastic post ... I learned to pull the vinyl as I painted ornamental designs and as you said it's the best way and I found since the 90's it really was the way. I ran a one inch gold leaf line on a truck with scotch tape outline... I pulled the tape as I brushed the sizing, spun the leaf and used my Mack number one and outlined the edge after a clear coat... There are always a way to apply new technology to old antique designs... Thanks for your help.
Hahaha yeah it's this seasons must have outfit!!
I hate HF acid but it produces such a nice effect. I don't think I'll buy anymore once this bottle runs out. It makes me nervous just having it in the shed
That looks really nice with the 2 layers of etched glass. I like how the back of the yellow gold is reflected and diffused by the lemon gold
Cheers mate! 🍻
Awesome Paul.
Thanks Alan!!
So much easier these days using vinyl masks with vinyl cutters and computer program.
Back in the late 1960s early 70s, we would draw everything out first on detail paper, mask the panel with Brunswick Black, a coat of wax wiped out evenly with hard felt pads, then lay 18" x12" sheets of thin lead foil as the working surface (as with vinyl masks today). Transfer the reversed design from the drawing to the lead by tracing through, then cut the lead with blades we made ourselves using hardened and tempered 3/16" Silversteel. The design to be embossed would be picked (same as weeding vinyl), and cleaned off with turps and sawdust, then whiting to kill any wax or grease. Any small tears in the lead would either be patched or overfilled with Brunswick Black.
If using Hydrofluoric Acid (as a dilute liquid, not a paste), say, for stipple or white acid, we'd build a dam around the edge of the glass panel using tallow applied with a large spatula to keep it all contained - (these would sometimes be, say, up to 8 foot by 4 foot panels, or larger). Once embossed - or remasked for toning, then finished off, the whole panel was washed off and dried using sawdust & finished before any other work with whiting. People nowadays don't even know they're born, it's so easy :)
At the time, pubs in London were all going through a period of modernisation - all the old Victorian windows, mirrors and interiors were stripped out and replaced with, what they considered updated "modern & trendy" interiors, so all those old windows and mirrors would be brought back to our embossing shop and stored in the corridor - even those lovely old glass shop facia's would end up there. After a period of time acid fumes would get between the panels and ruin them so they'd end up in the cullet bin smashed to smitherines ! It breaks my heart to think of how many hundreds of (now priceless - some would be museum pieces now), beautiful Victorian embossed & brilliant cut windows, mirrors and shop facias simply went to recycling - they were, sadly, just old hat in those days and valueless.
By then, mid 70s, glass embossing was a dying art with less and less call for it apart from run-of-the-mill Bank windows, sandblasting, and the odd commission from Asprey's of Bond Street and others. One of the guys got married and moved away, which just left me and the boss. Then his wife died and he didn't want to carry on after that, so the embossing shop was closed down for good. I carried on painting signs including glass, pinstriping and other types of art on my own account and am now getting back into the embossing.
One other point : Back then before Health and Safety, nobody used any kind of protective clothing apart from rubber gauntlets and maybe a rubber apron when handling neat Hydrofluoric Acid from the carboy - HF can be extremely nasty stuff if abused and not treated immediately, H&S simply wasn't an issue back then apart from using commonsense. I don't remember ever wearing a face shield, goggles or wellies - just a normal T shirt and Levi's. In all that time I only got a couple of tiny splashes on my right forearm which, even though they were washed off immediately, still remain as white scars. I wouldn't touch any acid now without full PPE. The biggest problem was carrying large sheets of cut glass in one arm which sometimes could cut into the skin on the collarbone - until I used a bit of savvy and put a pad there for protection.
Nice work Paul, well done and keep it up.
Thanks for the detailed comment, it's amazing hearing about all of the old processes! It's so sad that all of those beautiful glass panels were removed/destroyed to make way for characterless clear panes.
Thankfully London does still have a lot of pubs with the snob screens still intact, but you can tell which windows have been replaced where they've tried to make them match, but companies nowadays don't have the knowledge to do it properly.
I've always been safety conscious with HF acid. I wear full body protection and still don't like using it. It's a shame it creates the best effect on glass because I don't even like having it in the shed.
@@happygilder At the risk of becoming a bore, here's a bit more info' you may find somewhat interesting : I then worked for a firm by the name of Aygee Glass in Tanner Street, off the Tower Bridge Road. They had a huge wharehouse with a glazing dep't and a completely automated mirror silvering line using DeVilbiss spray heads. Also, a glass bevelling, brilliant cutting and polishing dep't - those guys were always wet. Our shop was between the two.
At that time we would get our gold at George Whiley's in Whitfield Street where they mind numbingly hand beat the gold in the basement. Paint was the original lead based item from John T. Keep in Theobalds Road (later bought out by Bollom's in Beckenham who, even later had a fire and ceased to exist). Writing brushes came from a firm by the name of Leets in the Borough, near the Elephant & Castle. Leet's was a real old Victorian brushmaking company with a rickety old shop to match. Sadly, they're all gone now.
I'd also go to Asprey's to collect drawings, drop work off, etc. There was an artist there who would do the most beautiful watercolour artworks for proposed high-end room interiors - money no object. We did all types of work through Aspreys for clients across the world, although at the other end of the scale, If you've ever seen the glass entrance doors for Currys electrical stores with the gilded Currys logo in Bookman Bold font, my boss did the vast majority of those back in those days, he could probably have done them in his sleep.
One question regarding Armour Etch : i've not used it yet but, from my understanding it leaves a frosted surface similar to that of white acid. However, in your video using water diluted Armour Etch & lentils as an experiment, the embossed surface appears somewhat clear albeit stippled by the lentils. So, what surface finish does it create Paul, frosted or
clear-ish ? Many thanks.
Love the effect with multiple layers, looks great!
Thanks Richard!!!
I have to tell ya' Happy...you are amazing
Thank you very much! 😄
Love it! Great technique to expand the possibilities. Nice use of the available graphics and fonts too. Thanks for sharing Paul!
Cheers Chip, glad you enjoyed it mate!!
That looks sensational. Am I correct in thinking that the gold leaf only adheres to the paint? Does the paint still need to be semi dry to bond the gold?
Thanks Mark!! The gold leaf bonds to the glass using the mixture of distilled water and leaf gelatin. You apply the gold immediately after applying the mix and as it dries it forms a mirror finish on the glass. Here's a link to a recent video I made that covers the method in detail: th-cam.com/video/vspOGWStS6A/w-d-xo.html
Beautiful job Paul,love the effect from the two colors of gold leaf !!
Thank you Ton! 🙏
Outstanding work! I love this design and layering
Thank you!!
Great job
Thank you!!
Aboslutely fantastic!
Cheers bro!! 🙏
Hi Paul, is there another way of getting the same effect without using dangerous acid? As glue chipping might not work with such detail in background piece.
You can use a technique called dammar embossing which produces a similar effect without any dangerous materials. I cover the process in my Glass Embossing video :)
Awsome videos, thanks! How did you drop shadow the betty noir font?
Here’s a tutorial for creating the drop shadow
How to create 3D letters for reverse glass projects
th-cam.com/video/i60qV3sL7Mo/w-d-xo.html
When applying gold leaf to an area that has been etched using the Armor Etch with Mica method, do you need to press the leaf into the etching with a cotton ball or will it lie down fine without doing anything extra?
I always push the leaf into the etched areas.
@@happygilder Do you need to wait for it to dry a bit before you push it in, or are you good to do it right away as long as you are using a piece of dry, clean cotton?
@@questort it needs to be wet still otherwise it will just crack. You can do it straight away but I usually give it a couple of mins to let the excess size mix run off
May I please ask, how do you go about cleaning the glass after painting but before gilding? Will the paint hold up if you clean it the same way you would when it’s a blank piece of glass?
The enamel will hold up against a decent glass cleaner. Just be a bit gentle on any super fine lines.
You've successfully scared me off the HA acid, I'll stick to Armour Etch.
How long did it take to pick out the vinyl? Very Impressive!
Beautiful, beautiful effect and I will be giving it a go - the cheap and cheerful way.
Thanks Heidi! The picking wasn't too bad, probably about 20 minutes. That's my favourite part :D
Another really cool creative project! Very nice effect with the two glass panels. I appreciate your level of safety with the acid. That stuff is nasty! I used to use it to strip wood siding on exterior homes here in the Lake Tahoe area of California. Every time our boss sent us to do a “stripper job” I would be super nervous. The fumes alone can give you a bad bloody nose and vicious headaches. Yikes! Great video Paul and looking forward to see what your next mad scientist idea is 🤣
Thanks mate! I know what you mean, I hate using acid. Makes me lose it every time 😰
@@happygilder yeah but what a good effect it has on the glass🤙
Hi I love your channel. Looking for some advice. I have a mirror and I want to keep the mirror in parts, I've cut vinyl and applied to back of mirror. My problem is the vinyl lifting when I sandblast. Is there any advice on this? I'm not sure if it's the vinyl not sticking enough or air pressure from my compressor too high. Any advice would be much appreciated 🙏
Hi, it could be a few things. If it’s an old mirror the backing paint can go a bit powdery. This is a nightmare because the vinyl won’t stick to it properly. You can spray a gloss lacquer on the back before applying the vinyl and that helps a bit.
It could also be the pressure. I have mine set to 35psi.
Lastly it could be the vinyl. You can get low tack vinyl and that won’t work as a mask because it’ll lift when you sandblast it.
Hope that helps :)
@@happygilder thanks mate I've literally just read about sandblasting vinyl. I'm just using a sign vinyl and I get the feeling it's just not sticking well enough. I'll try and get some better vinyl. Thanks so much for your reply and advice. I'm a great believer that if you don't make mistakes you don't learn, guess this is one of they times lol. Thanks again and keep up the great work, if not for you I wouldn't be trying this hobby out. 👍👍
@@Nilocseel no worries, really glad to hear you’re starting this as a hobby!
Actual sandblasting vinyl is a bit overkill for glass work because it’s really thick. You need different blades if you’re using a plotter to cut through it. I just use standard sign vinyl and that works fine :)
@@happygilder it was the psi!!!!!! I put it down to 35 psi as you said and it's perfect!!! Your a LEGEND!! Thank you mate. 😊
@@Nilocseel awesome, glad you got it sorted!!
Amazing art to make but i would like to know what did you put after the acid? That selver ?! Can you please name it ,thank you and good luck ❤️❤️❤️
Thanks! I applied gold leaf to the acid etched areas
great effect Paul these are just brilliant ,do you make and sell to public ?
Thanks Paul! I do the odd commission but only locally because they're so difficult to ship.
@@happygilder can imangine how difficult it is ,you will have to open a shop i will be down there in a flash keep up the good work mate
Hi Paul, great piece. What acid is it and what did you add to it to get textured effect?
Thanks Mark! It’s Hydrofluoric acid mixed with coarse mica
@@happygilder thanks for getting back to me Paul. I have worked with glass for nearly 30 years and would like to get into this craft. We have an automated industrial size sandblaster at work. If your painting light colours you should try and buy opti-white glass, it's also called low-iron. It has no/very little green colour to it.
@@markwootton8855 Thanks for the tip, I didn't know that was a thing but it makes sense now. I've always wondered why the edge of the glass looks green. You should definitely give it a try. It's a real bonus that you have access to a sandblaster! You can try it our without forking out on your own set up :D
Hi happy,...I can't afford the vinyl cutting machine. Do you receive requests from others for the cut vinyl for gilding on glass? And finally do you have like a site that features patterns and accessories?
I don’t do vinyl cutting requests myself, but someone on the Facebook group might do it for you.
Regarding the designs; I have an Etsy shop where you can buy prepared digital files. There’s a link in the description of all my videos :)
Brilliant (pun intended)! No HF for me though. Too scary!😮. Funny, I was just collecting some Art Deco ornaments and frames from the web recently. I’m drawn to that style. I think I’d been watching a movie with period architecture that day and it set off a web hunt. I’ll have to check out Vecteezy! 🍻
Cheers Ted! You should give the etching cream method a try. Nowhere near as dangerous or scary as HF acid.
I prefer art nouveau myself but art deco is lovely and much more popular nowadays
Hey bro, what do you use for glue ? What's is that looks like a water ?
Hey! This video covers everything about the gilding process:
Gold leaf variants. With updated gilding advice
th-cam.com/video/vspOGWStS6A/w-d-xo.html
@happygilder Wow, super cool. Thanks for this.
Really interesting. Do you do this for a living? Is it well paid?
Thank you! This is just my hobby so I can't say whether it's a profitable business venture. It'll probably depend on where you're based as to how much work you'll get.
@@happygilder Gosh ! Quite an expensive hobby!