A book worth mentioning - Gold Leaf Techniques

[Rob Schramm]

Today I got book 2 of 6 that I bought so far this is the best $13 I have spent in my entire time of trying to do new stuff on glass. The book is called simply, "Gold Leaf Techniques" by Raymond J. Leblanc (revised by Arthur O. Sarti) this book is so full of information on doing tons of techniques using gold leaf on glass. The writing and illustrations are fantastic and is really helping me to understand the use of different mediums on glass. If you dont have it search it out as the book goes over everything that I could ever think of asking as someone newer to this profession.

Rob

[Roderick Treece]

Rob,
Congratulation you now have one on the"KEYS" to gold leaf kingdom. One of my favorite pages is #45. It never fails to amaze me when some one stumbles upon something so old and yet so cool. For them it is truley an awakening experience.
When I was about 19 I went on the road as a snapper. One night in Monterey Cal. I found a florist shop that had a two tone gold window. Having never scene one before I called my dad and asked him how it was done. After a few minutes I was totally confussed.Man it would have been great to have that book then.

Check out this page.It has lots of versions of thing from the book.
http://www.customglasssigns.com/signs_m ... flettering

Roderick

[Larry White]

The first book I ever got on the subject was The Art of Glue Chipped Glass Signs by Bob MitcheII (keep your eyes out for that one). I was amazed at the signs, especially the old turn-of-the-century ones. That book reference the Gold Leaf Techniques book by Raymond LeBlanc as a resource on how to finish the glue chipped glass. I got that book and knew I had to try some of this craft myself. This is the first sign I ever made, and it was strictly made from reading the books.



The Gold Leaf Techniques book referenced Esoteric Sign Supply as a source for the required materials. That's when I met up with Rick Glawson. That was back in 1988. I took my first sign down there when picking up some supplies. Both Rick and Lola were pretty impressed at my first attempt. In hind sight...just lucky I guess. Still like makin' these, and never get tired of looking at them either.

How 'bout your history there Jenco...Kinda take you for an Italian. I mean, am I close, am I right? ...Sicilian?

[Rob Schramm]

I love this book, it has answers to many of the questions that I have been asking but written so I get the drift of what is going on. The book is brilliant and so well written. I am going to go and look for the glue chip one as well. I am still beside myself for what I paid for this book and everytime I open it I am like a kid in a candy store.

Where can I buy a mahl stick. I have never tried many of these things mentioned but they sound so much easier then the way I have been doing it.

[Raymond Chapman]

Way back in the horse and buggy days (well, almost) there was no one doing gold leaf in the little town where I lived. I bought that book and began teaching myself to do gold. It was really an experience....read a little - do a little, read some more - do some more....wipe everything off and start over.

When I was at the Letterhead gathering in Denver, Todd had the original glass pieces that were done for that book. What an experience to see them after all those years of studying them night after night.

[Mike Jackson]

Rob,
As you can already deduce, that book had been printed for quite a while before Art Sarti worked on it. Since Sarti's additions and changes, the book has been updated by Kent Smith (the same one you see posting here) and re-released by Signs of the Times. LeBlanc and Sarti were advising people based on products available at the time. Leblanc's King Cole black had been discontinued. I believe Art Sarti wrote about using Stazon paint as a backup, but I believe anyone here will tell you that is a terrible product for backing up gold leaf. Rick Glawson (not sure if he discovered it) started selling his gold leaf backup paint which was really Colonial Screen Ink. That product has been discontinued as we knew it, and replaced with something similar but not quite as good. Many of us still have quarts of old Colonial Ink, so we haven't needed to try the updated alternatives.

My point here is the book is a great resource and all three authors cover the subject well, but you also need to distill it a bit. And, no matter how many times you read the book, there is no substitute for actually watching a master lay the leaf on glass. As another example, Leblanc and Sarti used gelatin capsules mixed with warm/hot water. Glawson found gelatin sheets which work much better and dissolve more freely.

Have fun with the new book and new techniques and processes.

M. Jackson

[Rob Schramm]

Thanks again Mike for letting me know about the updates is there a newer version to this book or is it just a written adendum that Kent did? I definatly like the book as I have already read 1/2 of it and now understand a lot of what you guys are talking about here which may keep from the dumb questions. If there is an updated version to this I would love to know.

By the way I got my first Signs of the Times today, havent had any time to read it yet but flipping through it looks great.

[Kent Smith]

The info on the book is that I updated the information, especially current products for the 3rd Edition which I also added addendums for subsequent printings. There were 4 different version of the 3rd Edition. Much of the materials that Art Sarti added were removed as they have been replaced more recently. ST apporached me because of issues about the other outdated information that Art added and he was no longer capable. In the 4th Edition, I completely rewrote the entire book, updating both materials and process as needed. The plan for the 4th was that it would be the last, with references to direct the reader to find their own current sources. We are now in our third printing.

Having said all that, the primary credit must go to Ray LeBlanc for originally describing the PROCESS of gilding. I take credit for the current edition but I still pay homage to Ray for creating the basis of a singular text on gilding. While there have been some tweeks to much of his descriptions, the basic process of glass gilding was first fully described by him and for that we all must be thankful. He spent a great deal of time figuring out what it was that he did for both a successful gild as well as an economically practical process of completing a job. Many old texts were confusing at best and really never completely described a process because gilding was only a small part of the text. As an example, re-read the description in Atkinson's Sign Painting. What worked the best for me was that Ray's methods were almost identical to those my Dad taught to me so it was natural to think like Ray and keep his PROCESS alive.

[Rob Schramm]

I plan on buying your updated version but I definatly am keeping this one as well.

[Ray Smith]

Where can I buy a mahl stick. I have never tried many of these things mentioned but they sound so much easier then the way I have been doing it.

I made a great mahl stick out of a WWII era rifle cleaning kit that I found in as new condition at an antique store for $5.It is made of aluminum and although the rod is a bit small in diameter it doesn't deflect much when you lay your hand on it.It is 4 piece(a handle with rod,2 extension rods,and an end piece used to hold the bore cloth)and I used a rubber ball(a cat's toy)pressed onto the end piece).Works very well.
I used this because in one of my vintage sign kits there is a mahl stick that is made by the B.G.I.Company;that standing for the Bridgeport Gun Implement Co.Apparently they made rifle cleaning kits as well.
You can buy these at virtually any sporting goods store for pretty reasonable money but I see them at yard sales all the time for a dollar or two.

[Jerry Berg]

There are definately tools you need, but a mahl stick is not absoulutely nessecary, Layout is more important.

Kent, I learned gilding from your book. Just me and the book.

[Roderick Treece]

When I was a young snapper I rebeled agaisnt the mahl stick.My dad would tell me to learn how to use it but I refussed ! I finally realized just how important it was. I say don't get started with bad habits. Being Left handed I think it's even more important.

Now if we could do somethin about this pour grammer and atrosus speling. Wheres the spell check feature.

[Rob Schramm]

I have been doing some layouts in Corel Draw and using Mikes design and Atkinson's book to see if I can re-create them in the program. As far as the Mahl stick I have to change the habits that I am use to doing as they never have worked all that well. I do have a large easle that expands for the signage but my biggest issue has always been keeping my hand steady or reaching over things and I see the mahl stick and how it is used and that would make life easier.

[Raymond Chapman]

I've always used a mahl stick...even for show cards, which gave many an old card writer heart failure. The man who taught me most of my lettering skills was left handed but did not use a mahl stick, except for gold leaf work. He said it was a crutch....but I used one anyway.

In my opinion, it doesn't make a lot of difference one way or the other - just learn layout, design, and proper letter construction and the rest is all personal preference.

[Mike Jackson]

http://www.misterart.com/g1766/Grifhold ... -Stick.htm

Here's a source for a commercial one like many of us have in our kit.

For the shop, we use a 36" long 1/2" dowel with a rubber ball on the end.

Mike

[Dave Dubé]

Roderick,

Being Left handed I think it's even more important.

I've still got mine! And haven't used it for well on to forty years. A Jugglers hard rubber ball on an aluminum rod which I got from Dick Blick as I recall - and for the same reason. LEFT-HANDED, although I'm ambidextrous with a brush.