The Mirror Project: Gold Leaf, Paint & Glass

Table of Contents:
Cleaning the glass; marking up; making size; gilding with silver; gilding with gold; burnishing;scribing first lines; rubbing through gold; engraving; painting; cleaning the front

About the Author :
Following her first degree in Book Illustration from Camberwell School of Art, London, Frances learned the art of gilding on wood as a partner in an antique furniture restoration business in London. She learned many glass gilding methods by replacing broken antique panels from looking glasses of the 18th and 19th centuries and continued to explore more possibilities by working for interior designers who commissioned a wide variety of projects. She also made her own work always pushing the boundaries to see what was possible. Teaching, demonstrating and lecturing on the subject began quite early: unusually amongst her peers she was always interested in sharing her knowledge as she quickly found she gained easily as much as her students did by the experience, if not more. Forty years after graduating from Camberwell she began a two-year research programme at the Royal College of Art, London, from where she earned her Master of Philosophy, in Gold, Glass and the Image. Frances is currently engaged on developing a line of extraordinary jewellery incorporating decorated glass.

Review :
This is probably the most condensed (and refreshingly so), yet comprehensive book to date on gilded and painted glass. Concise and easy to read it mainly covers the most widely used cold process of gold and painted decoration on glass. Frances wastes no time in pointing out and clearing up the true meaning of the term verre eglomise, now commonly used as a general title for any type of decoration applied to glass, but let's not give too much away. This is all covered, including both cold and hot methods, in the opening paragraphs and under the Terminology section. There are many old books from medieval manuscripts to un-translated documentation, so this book is very welcomed. There has been a long gap in the market for gilded glass, but now the art of glass decoration is enjoying such a revival, and with so many new and varied designs, this couldn't really be better timed. The book moves from techniques (ancient to modern day) to origins and the development of glass decoration throughout the world. Fabulous examples of historic and important pieces are illustrated, each with a brief description of techniques and materials used. Some of these examples show a real diversity in design and methods used. The step by step approach for the entire gilding process is also explained and shown in great detail, covering initial design process for geometric and free hand patterns, the process of laying the leaf, engraving and colouring. Recipes, materials & tools, suppliers and useful references to websites make it easy for even a complete beginner or an amateur who has never laid a single leaf, but may wish to try their hand. Even for the professional there is nothing comparable to this book. It is up to date, an excellent concise reference manual with a wealth of useful information, in essence it is a book that can teach even the most experienced restorer or gilder something new. Dominic Schuster for The BAFRA, British Antique Furniture Restorers Association. ...This book... brings together the results of years of research by the author... time-tested arcane formulae have been thoroughly modernized; intricate order-sensitive processes are thoroughly explained. Anyone practicing today has to get many things 'right' if they expect their work to last really long-term: that is why this book is so very important. William Gudenrath, Resident Advisor at The Studio of The Corning Museum of Glass, NY, USA. I started reading your book and I think that it is great - it contains amazing amounts of information and yet it doesn't beat about the bush. Nina Binnington, mirror specialist, Germany. ... Have now read four times, ever more slowly and with increasing understanding of the variables. Your experience and comments about what can be laid on top of what have in particular been very handy indeed for working out some potential snags ....I do so agree about repeating basic instructions in each separate context - from the reader's point of view, this is a blessing. Not to have to dash back and forth to re-establish an idea from a previous chapter, keeping a thumb in the page, is genuinely sensible.... I have put pencil marks all over the pages to remind me of small important details in the text. For me, that is clear proof that this is a book... genuinely useful workaday... to learn from and work with, not just to gawp at...Richard Byrne, UK. It's a work of gilded art! This book will encourage and teach students for years to come. David Smith, ornamental glass artist, UK. ...I want to say how much I am enjoying the book! Its such a fantastic resource and so inspiring - a real gift to the glass world. Lucy Batt, glass artist, UK. ... after so much time, research and careful thought, it is truly an inspiration. I am very keen to explore this use of gold and colour in what I hope eventually will be my own personal expression. Christopher Ainslie, glass engraver, UK. ...I just got the book in the post. It's lovely! Really well done, so easy to follow and beautifully illustrated. Lynne Rutter, decorative artist, San Francisco, USA. ...Such a handsome book, and so filled with fascinating photos and text. It is beautifully organized, and will provide many worthwhile hours for readers of all levels. Congratulations, and thank you from all of us in the gilding community. Ina and Allen Marx, conservators and decorative artists, USA.