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Gold Leaf. Gild 1: Mixtion

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Gold Leaf. Gild 1: Mixtion
Gold Leaf. Gild 1: Mixtion

Video: Gold Leaf. Gild 1: Mixtion

Video: Gold Leaf. Gild 1: Mixtion
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Gilding by means of mixtion quickly leads to beautiful results with precise preparation and a precise procedure.

This type of gold plating is also known as gold plating. Very thin and very consistent, gold leaf made pictures, statues and parts of buildings shine in ancient times. Gold leaf, provided the surface has been prepared accordingly, can give non-metallic surfaces the appearance of real, solid gold. Today gold leaf gilding is carried out on, among other things, picture and mirror frames, furniture, precious books and sacred objects. Gilding works also play an important role in the restoration and surface design of architectural monuments or in the art of construction and in the modern living environment. For the brilliant result, room and climate conditions as well as careful work are the basic requirements.


Gold is a precious metal and is resistant to most acids, alkalis and sulfur substances in the air. The thin gold flakes are produced in many extensive manufacturing steps in gold fights. They are delivered in so-called booklets, in which the wafer-thin gold leaves are cut into squares and embedded between tissue paper. From here, the gold leaf is picked up with a special brush, the "shooter", and placed on the surface. In the case of mixtion gold plating, an “adhesive”, the mixtion, is applied between the prepared surface and the gold leaf. The term is derived from the Latin word for mixture "mixtura". Originally, it was only used for linseed oil-based oil. Today, a distinction is made between oil mix and water mix. Both serve as adhesion promoters between the surface and the gold plating and are offered by various manufacturers. Another note from Karin Havlicek should be quoted here: A moving sample object is essential in any case. It helps from evaluating drying times to assessing the effect of post-processing options.

Water mix

The water mix is also called lay-on milk due to its whitish, thin appearance. It is only suitable for the interior. The surface should be slightly absorbent and as smooth as possible. A very good preparation is a finely ground, clean surface. For gilding with yellow gold or impact metal, paint with a soft surface brush of acrylic paint in a light yellow to ocher tone. For a glossy result, 10 percent glossy acrylic lacquer is added, for a matt surface 10 percent matt lacquer. Before applying the mixtion, the surface must be dusted off. Before starting work, it is important to plan the procedure in detail. With flat surfaces, you can draw a grid on the surface,the supernatant must be included. Gold leaves are usually 8 by 8 centimeters, for a perfect result you would record 7 by 7 centimeters squares. For sheet brass 13 x 13 centimeters. The mixtion is applied quickly and evenly.

The sheet metal is placed on top when the applied mixture is no longer milky, but forms a clear film. The period of time in which the gold leaf can now be applied is up to 60 hours.

From the bottom up

In the case of a vertical surface or sculptures, the sheet metal always starts at the bottom, so that gold leaf falling on it does not stick to the surface in an uncontrolled manner. The leaflets are placed next to each other with an overlap and the surface is closed. Small defects should be repaired immediately. If the gold surface is closed, the gold on top is carefully pressed in against the direction of contact with little pressure. A cotton ball wrapped in a stocking with tissue paper underneath is very suitable. The now finished surface can be further processed after the gold dust has been completely removed. One possibility is rubbing through, that is, making the color under the gold spout visible. This only makes senseif it contrasts with the gold tone. To do this, use a fine cloth moistened with alcohol, which is usually rubbed lengthways. Don't forget: gold leaf is only ten thousandths of a millimeter “strong”.

Gildings with water mix are not mechanically durable. A protective cover is therefore important in order to enable dusting later. Acrylic lacquers, glue coatings or shellac are suitable for this.

Oil mix

Gildings made with oil mix can be used outdoors and indoors, but mostly because of the solvent evaporation outdoors. They are very durable with a lifespan of around 40 years. Here, too, the oil mixture - also called contact oil - is applied to the prepared, dust-free workpiece. They are available with different drying times (three or 12 hours), which also results in different processing times (from 30 minutes to three hours). One way to prepare the substrate is to prime it with a synthetic resin-based primer, painted with light yellow alkyd resin varnish, glossy or matt, depending on the desired result. The mixtion can be colored with oil paint and should be diluted with turpentine or some Shellsol T. That has the advantage,that you can control the order better. If the mixtion is applied evenly everywhere, it is immediately removed again, e.g. B. with foam. As with water mixing, the following also applies here: the glossier and more uniform the surface and the thinner the mixture layer, the glossier the result.

Check drying time

Gilding can be done after the dry season. You can check whether the oil mixture is dry enough to put the gold on by moving your back finger lightly over the workpiece: you can feel a slight pull or even a slight whistle. To make sure, the moving workpiece is shot.

Calm and full concentration is required to put the gold leaves on, it is essential to avoid drafts. The sheets are placed next to each other overlapping three to five millimeters. With the help of the tissue paper from the gold booklet, it can be carefully pressed smoothly against the direction of the shot. Flaws in the form of tiny hairline cracks or corners can be remedied by stroking the surface in one direction with a soft retracting brush, thus sweeping the gold residues that have been created by overlapping the gold leaf edges into the flaws.

Oil gilding in the outside area is principally not painted, since pure gold (at least 23.5 better 23.75 carats) will not be attacked by air pollutants.

Double gold is always used outdoors. In some cases, gold is plated twice.

Susanne Wierse Source: Malerblatt 12 / 2010Mixtion gilding Planned procedure and careful work leads to brilliant results. Mixtion gilding A grid is recorded for an exact arrangement of the sheet metal. Mixtion gilding The applied milk is applied with a foam roller. Mixtion gold plating The excess can be removed with the cotton ball and stocking. Mixtion gold plating The oil mix is applied lean on the workpiece. Mixtion gold plating Shoot gold leaf on the oil mixture: plan overlap! Mixtion gold plating. The gold leaf is swept in after pressing. Gold plating greasing requires care. Photos: Karin Havlicek (7), Naomi Mulla (2)