Shellac For Gold Leaf? Top Answer Update

Gold leaf can be a wonderful complement to acrylic paintings as it contrasts shine and reflection. We are often asked if it is possible to paint on gold leaf with acrylics and if it is necessary to seal the gold leaf beforehand. The short answer is that most foliar imitations require intermediate coats before painting with acrylics to reduce tarnishing. Since ammonia, which is found in all water-based acrylic paints and mediums, accelerates the tarnishing of copper-based imitation gold leaf, we recommend our MSA Varnish or Archival Varnish with UVLS as a protective layer before painting acrylics over faux-foil.

Real gold and imitations

Real 24 carat gold consists only of the precious metal gold and does not tarnish. So it can be painted over directly with acrylic paints. Lesser karat real gold have different hues and are created by the addition of base metals in the production process. The most common alloy components are copper and silver. The greater the addition of these base metals, the greater the likelihood that the gold leaf will tarnish. 23 karat or 22 karat gold should not tarnish when used indoors for artistic or decorative purposes unless handled and touched. Lower karat real gold should be protected with a clear coating.

Imitation gold is a very inexpensive alternative to real gold and is therefore a widely used material. Gold-colored leaf imitations have various names, such as “Dutch”, “Composite” or “Schlag” followed by either “Metal” or “Leaf”. So Dutch Metal or Dutch Leaf etc. These are made from copper-zinc alloys, with the composition being specially controlled to produce tones that closely mimic real gold leaf. Similar to real gold, leaf imitations are packed in booklets and either placed loosely between tissue paper or pressed onto specially treated tissue paper as a transfer (Fig. 2). Imitation leaf is significantly thicker than real gold leaf and therefore easier to handle and less likely to tear.

acrylic and tarnishing

The great advantage of real high-carat gold leaf is that it does not tarnish, whereas imitation gold is very prone to tarnish. For example, while oxidation often adds an aesthetic appeal (patina) in copper sculptures, in imitation foliate it tends to destroy the illusion of real gold. Oxidized imitation leaves produce stains of different colors that cannot be removed (image 3). Oxidation is accelerated by ammonia which is found in many of our products as it is part of the formula for most water based acrylics which includes all of our acrylics, mediums and polymeric finishes with UVLS. The application of clear acrylic mediums tends to produce a darker and more orange color on imitation leaves. We have found that Polymer Varnish in particular induces more oxidation with green-blue oxidation products and even cracks and flakes (Image 4).

protective coatings

To avoid ammonia and water coming into contact with faux foliate and causing oxidation, we recommend brushing on diluted MSA Varnish Gloss or spraying on sufficient Archival Varnish Gloss (MSA’s aerosol form) to create an even gloss finish (picture 5). . As a rule, 2-3 spray coats are sufficient. This can help slow the tarnishing process, however as acrylic is porous there is no guarantee that the imitation gold leaf will not tarnish in the future. Of course, it is also important not to touch the leaf imitation with your bare fingers, as finger grease could tarnish heavily and continue to tarnish under a varnish or top coat. Once the layer of varnish has dried you can paint over our MSA or Archival Varnishes with acrylics.

More tips

Specialist gilder suppliers often offer both real and imitation leaves and often have their own recommendations for suitable sealers to protect their specific products from tarnishing.

If the imitation leaf is incorporated into a painting midway through the process, the underlying layers of paint should be allowed to dry thoroughly prior to gilding to ensure all volatile components have evaporated.

Control humidity levels (radiators in winter and dehumidifier/air conditioner in summer). High humidity accelerates the oxidation of foliar imitations during their application.

Apply a thin coat of acrylic-based gold sizing, following the sizing manufacturer’s instructions.

Do not touch imitation leaf with bare fingers as fingerprints will continue to oxidize even under a protective layer. Use transfer sheets that can be handled on one side and/or wear cotton or latex gloves.

Apply a clear protective coat the same day.

connections

MSA and Archival Varnishes are solvent based systems and therefore require appropriate health and safety precautions which are detailed in the Product Information Sheets:

• Categorized under Home Appliances | Differences between shellac and varnish

The words we are talking about, namely shellac and lacquer, both refer to furniture and we may, or certainly will, encounter them when ordering or buying furniture for our home. The two represent similar things, but there are differences between the two and it is not correct to use the two interchangeably. As we will now point out, there are certain factors that can differentiate the two.

Nowadays, furniture is available in different materials such as wood, teak, etc. It is very common to add a top or finish to this material to extend the life of the furniture, make it durable and keep its elegant look. The terms lacquer, shellac, varnish and polyurethane are commonly used to refer to the final finishes we are talking about.

First, let’s look at what they are exactly. Shellac is just a resin secreted by the lacquer bug. It can be processed and then sold as dry flakes. It can then be used as a coating color and most commonly as a wood finish. Varnish, on the other hand, is a very hard protective varnish or film that is also used in wood finishing. It is also used for finishing other materials. Traditionally, varnish is made by making a combination of a resin, a drying oil, and a solvent or thinner.

There is also a significant difference in the origin of the two. As previously mentioned, shellac comes from the secretion of the female Laccifera lacca, which is rarely found anywhere other than Southeast Asia or India. Originally it was used as a dye; In 1590 it was first used as a finish in India. Insect secretions were collected from tree trunks and dissolved in alcohol. In contrast, varnish was first made and used by the Egyptians. They used tree sap and dissolved it in turpentine, also a solvent made from trees. The result was an amber colored material that could be used for finishing. It takes time to dry, but once hardened, it provides reliable protection for a long time.

A very important difference between the two is that the varnish hardens as it dries. This makes the paint impervious to reapplied solvent. Shellac, on the other hand, dissolves easily when dry as soon as it is moistened with alcohol, fresh shellac or lacquer thinner. Another difference would be that a layer of lacquer is heavier than a layer of shellac. Therefore, only one or two coats are applied. This is not the case with shellac, which is applied in multiple coats, as primers made from shellac will dissolve and then bond to fresh coats. This also explains somewhat the difference that a finished shellac coating is usually softer than that of lacquer.

In recent times, both shellac and lacquer have evolved from their traditional forms. Modern paints contain a desiccant, an example is linseed oil, which is found in mineral spirits, not turpentine. Modern shellac is more similar to its conventional form; rather, there is little difference between the two. It is still available as flakes that can be dissolved by the user, as well as a pre-mixed pack.

The differences between the two explain different ways the two can be used. Due to the curing and the harder coating, paint offers a higher level of protection. For this reason it is used for outdoor, flooring, indoor woodwork and furniture that is heavily used or exposed to dust, wind, pollen, etc. However, shellac is better for cabinets, antiques, and tabletops. It gives an elegant look and is easier to apply.

Summary of differences expressed in points

1. Shellac – a resin secreted by the lacquer bug that can be processed and sold as dry flakes; Varnish – a protective varnish/film, very hard, used in wood finishing; Traditionally, varnish is a combination of resin, drying oil and solvent/thinner

2. Origin – shellac; the secretion of the female Laccifera lacca, found in Southeast Asia or India; Paint; first used by Egyptians, tree sap dissolved in turpentine, result – an amber-colored material used for refinement

3. Varnish hardens as it dries; Shellac – when dried, it dissolves easily after being moistened with alcohol

4. The layer of lacquer is heavier and harder than that of shellac

5. Varnish offers more protection

Sealing gold leaf projects is an important but sometimes skipped step in the overall gold leaf process. In general, when using real gold leaf with a rating of more than 22 carats, sealing is not absolutely necessary. However, if the sheet is in a high traffic area, a seal will help protect the sheet. Gold leaf (or gold leaf of silver, bronze and pewter) can be used in a wide variety of settings and mediums such as signs, windows, metal surfaces and other gilded decorations. Proper sealing of the gold leaf will ensure the durability of the finish for years to come.

With gold leaf, real or synthetic, you can add a touch of sparkle and glamor to even the most mundane objects. Add gold leaf to items as large as a piece of furniture or as small as Christmas ornaments and gift tags. Add a golden metallic sheen to your other crafty creations, like polymer clay jewelry or DIY wall art. The ancient craft is complex when performed by professional craftsmen – but anyone can recreate the Midas touch at home using just a few products and tools available at craft stores.

Imitation leaf and copper leaf are thicker than real gold leaf but still need to be handled with care as the leaf can tear or wrinkle very easily.

Before gilding, you must ensure that the surface is clean, dry and dust-free. Once you have prepared the surface, use the ox hair fill brush to apply a thin layer of the acrylic gold glue. The ox hair is soft to eliminate the brush marks. Allow to dry for 15-30 minutes until the size becomes tacky like the glue on a post-it note. Once the acrylic sizing has reached this tack, you can apply the sheet. When gilding with the loose leaf you can, if you are very careful, take the leaf out of the brochure with your fingers and place it on the surface, but you may find it easier to use a badger hair gilding tip. The hair of the tip is gently brushed against the side of your face to build up some static or fat to pull the leaf from the tacks to the tip and then used as a support for the surface to be gilded. If you gild with the transfer sheet, this is glued to a piece of wax paper that acts as a support. Place the sheet face down on the dry tacky acrylic gold glue and gently rub the back of the wax paper to loosen the sheet from the surface, then peel off the wax paper. Since Imitation Leaf and Copper Leaf are thicker than real gold leaf, both the loose leaf and transfer sheet can be cut into smaller pieces with sharp chalk scissors.

Once the gilding process is complete use the gilder’s mops to gently brush across the leaf, this will remove excess leaf and also smooth the leaf. The mop is made of pony hair that is soft enough not to scratch the blade. Once the sheet is in place you can apply the shellac varnish, again using the ox hair fill brush to remove brush marks. Gold leaf and copper leaf both tarnish, so it’s important to apply a varnish over them to prevent the tarnishing process. However, silver leaf is aluminum and does not tarnish, so it is not always necessary to apply varnish.

Imitation Gold and Copper Leaf are for indoor use only. Imitation Silver Leaf can be used both inside and outside, but if you use it outside you must use an oil based size, not the acrylic size included in the kit. The gilding process is the same, but the oil-based sizing takes 1-3 hours to become tacky instead of 15-30 minutes and an exterior varnish needs to be applied.

This is only a guide to gilding with Imitation Gold/Silver Leaf and Copper Leaf. For a more detailed guide we provide a book called the Practical Gilding Manual which is a very informative book on all aspects of gilding.

Wrights of Lymm also offer a comprehensive range of Gilding Starter Kits which are ideal if you are new to gilding. The starter kits can be found on the Starter Kits page on our website.

https://www.stonehouses.co.uk/starter-kits/golding-starter-kits.html

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Learn how to easily make a gold leaf Mod Podge flower pot! Yes, you can use gold leaf decoupage medium. Find out how here.

Required Skills: Beginner. It’s really easy to modify gold leaf – you don’t need much crafting experience to succeed. The only thing I would recommend is previous Mod Podge experience as gold leaf can wrinkle.

Hello dear mod podgers! It’s Linda, from burlap+blue, and I’m thrilled to be here today and to share another tutorial for these amazing succulent planters.

Spring is fast approaching (yay!) so I combined some of my favorite spring colors with my favorite plants (anyone out there LOVES succulents like me?) and created these gold foil decoupage planters!

These look great on the desk in my craft room, and succulents are so easy to care for, anyone can keep them alive! Would you like to create something similar? Here is the simple guide. . . .

Mod Podge Gold Leaf Planter

Materials:

Mod Podge Gloss

planter

succulents

gilding leaves

foam brush

craft paint

Step 1: Decide on your color scheme and start painting your pots. Mine needed between 2-3 coats depending on the color. Once done you will have these beauties. . .

Step 2: This next step requires some patience, but it’s worth it in the end! I know there are tools and products specific to gilding projects, but I love using what I have on hand.

I’ve found Mod Podge to be a great complement to gilding foils if you want that shiny, metallic effect that’s so popular these days!

First, place your Mod Podge on top of your planter using your foam brush. Place your gilding sheet onto your Mod Podge, press firmly and allow to dry (about 30 minutes).

Carefully remove your gilding foil, brush off the excess gilding material and if desired, seal with a clear acrylic sealer to set. I love the rustic edges and abstract shapes. . . but you can make your edges cleaner if you wish!

And you’re done!

Thank you for letting me share with you all today! You can find many more tutorials and inspirations on my blog, my Facebook page, on Pinterest or on Twitter! Have a nice day!

Skip to content Yield: 1 project Mod Podge Gold Leaf Print Can Mod Podge be used with gold leaf? The answer is yes! Find out how here. Prep Time 10 minutes Active Time 30 minutes Total Time 40 minutes Difficulty Easy Estimated Cost $2 Materials Mod Podge Gloss

terracotta pots

Gold leaf leaves

Craft Paint Tools Foam Brush Instructions Decide on a color scheme and start painting your pots. Mine needed between 2-3 coats depending on the color. Once done you will have these beauties. . . First, place your Mod Podge on top of your planter using your foam brush. Place your gilding sheet onto your Mod Podge, press firmly and allow to dry (about 30 minutes). Carefully remove your gilding foil, brush off the excess gilding material and if desired, seal with a clear acrylic sealer to set. I love the rustic edges and abstract shapes. . . but you can make your edges cleaner if you wish! Did you do this project? Please leave a review or share a photo on Pinterest!

Topcoating over gold leaf

Thoughts about whether and how to refine gold leaf. November 25, 2008

question

I’m trying to find a good clear coat for gold leaf. Due to the size (adhesive) used, nitro lacquer is out of the question. I assume this is due to the harsh solvents in it like MEK and acetone. I’ve tried short oil varnishes with less than desirable results. I would like to try a 2K urethane. Anyone know if that would work? What does 2k stand for?

Forum Answers

(finishing forum)

From contributor L:

I didn’t think you needed to finish gold leaf. Is it just an accent on the wood that needs finishing? 2K just means it’s a 2-component polyurethane crosslinked by chemical means rather than oxygen.

I agree with contributor L – gold leaf is not plated. Any finish you put on it will degrade long before the gold. Finish your piece completely and do the gold leaf last, then just leave it alone. Are you saying real gold leaf or imitation? Sounds like you used oil glue which wouldn’t be receptive to hot solvents like lacquer thinner, but that would indicate that on real gold you have dull gilding. If it’s foil, it will tarnish without a clear coat. Shellac is typically used to top coat films or as a barrier coat before any other clear coat. Real gold leaf does not need a top coat as written above. I am guessing that you are doing oil gilding and not water gilding. 23 1/2 karat gold leaf will not tarnish, 22 and less over time. A plating over a lower karat protects it from oxidation and overzealous housekeeping, which can eventually abrade the gold when a cloth is used to remove dust. It can also be used to tint the color of gold. What is the application? Do you want to paint or spray a coating? The gold leaf covers the entire surface of a coffee table, so I mainly want to protect it from abrasion. I used Rolco Quick Dry gilding glue which contains mineral spirits. I want a nice deep gloss finish; Brush or spray, whatever works best. Auto painters coat with gold leaf all the time. I would use an isolating compound before the 2k urethane just to ensure adhesion. Most 2k urethane manufacturers have an insulating product. I would stick with a barrier layer of shellac. Once dry, you can paint over almost anything. Even if you’re not into a light gold look, the color in shellac will soften and age the sheet.

Contributor A’s comment:

Just a quick note of caution – make sure you don’t use any of the Rolco Gold Sizes when using Old World Art Sealer after gilding. The Rolco glue and the Old World react together, darkening and leaving a very dark, matte finish that completely hides the fact that you used real 24k gold (again with no metallic look).

After a few tries with the two types of Rolco, and after laying down 15 books of gold leaf, I finally had to sand the leaves down to the gesso base and start over; This time with the proven German gold size that does not react with the Old World sealant.

Some applications require sealing due to scratching of the gold, exposure to amateur cleaning attempts, etc.

Size refers to the adhesive material used to bond gold, silver, copper or metal foil to the surface to be gilded. Depending on the gilding process, there are different sizes; oil based, water based and “water gilding”. Gilding with water-based adhesives should not be confused with traditional water-gilding or the Cologne water-gilding system. Water-based adhesives create a tacky surface that sticks the sheet to the surface and are not polishable.

Aqua Size and Wunda Size are popular water-based sizing agents and serve as an alternative to oil sizing agents for interior projects. Both have an extremely long tack time, making them suitable for large scale interior projects or production gilding in manufacturing facilities. Aqua Size and Wunda Size are best for gilding metal leaf, but produce acceptable results with real gold. Porous surfaces should be sealed with A primer before gluing. Aqua and Wunda Size are intended for indoor use only. Clean with water or acetone as soon as possible.

CWB February 2001 Something about applying gold leaf The ancient art of gilding can add a touch of class to individual projects. By Mac Simmons The photo above shows a project in the bare wood state before the sizing is applied. The next photo shows the piece after it is sized. Photo 3 shows how the piece looks when the sheet is laid out, while the last photo shows the finished piece after the sheet has been fanned out and clear coated. Thanks to Dirk Boelman for designing the heart pattern and Janet Rancour for scrolling the piece. Gold leaf is an art that dates back to at least 2500 BC. dates back to This ancient art of decoration began when a tiny piece of malleable precious metal was struck into a wafer-thin sheet of gold only 4 to 5 millionths of an inch thick. These fragile gold leaves were placed on an object, an art that came to be known as “gilding.” Gilding can add an extra decorative touch to custom woodwork and can be useful in certain types of antique reproductions. This article is designed to help you get started with the art of gold (and silver) leaf. Although this is just an introduction, it will familiarize you with the basic methods and give you some tips to get you started. Gold and silver leaf can be applied to almost any clean surface including wood, leather, metal, plastic or glass. The materials needed can be purchased from most finishing suppliers or arts and craft supply stores. The sheet is generally sold in books. The process begins with “gold glue,” a type of varnish sold in slow-drying and fast-drying types. Polyurethane or lacquer can also be used as a size. The sizing is what the gold leaf adheres to as it dries and is applied with a flat brush. Once the glue has dried, the sheet is permanently held in place. The gold leaf will only adhere to where the sizing will be applied, so you must be careful to fully apply the sizing to the desired area. On the other hand, if you accidentally touch an area with glue that you do not intend to gild, the glue should be wiped off with mineral spirits, otherwise gold leaf will stick to the unwanted area. (Brushes should also be cleaned in mineral spirits once you’re done using them.) After the glue has been applied, let it set until it becomes tacky. It must be sticky, but not completely, or the sheet will not stick to it. Once the size feels tacky, the gold leaf process can begin. For your first attempts at gilding, I suggest that you start with the less expensive “Dutch metal composition foil” rather than pure gold leaf or silver leaf until you have perfected the application technique. It is extremely important that wherever you do your leafing there is no wind, draft, air circulation or other people walking around the room as gold leaf is very light and any movement of air will disturb it making it very difficult on the lay work. To apply the sheet, take a sheet by the corners and carefully lay it in place, each sheet slightly overlapping the previous one. (Tip: Rub your fingers through your hair or on your pants first to pick up some static electricity, which makes picking up the sheets easier.) Any sheet that tears or falls off should be saved. These pieces can be used to fill in areas where the sheet won’t stick or that you’ve overlooked. When applying leaves to rolled edges, carvings, shavings, or moldings, a brush is used to lightly press it into the crevices. (Here the sheet can often break and leftover pieces can be reused.) Depending on the size of the area to be gilded, you may cut the sheet before laying it over the work. While it’s still in the book, you can use an exacto knife, sharp scissors, or a single-edged razor blade to cut the sheet. Cut it slightly larger than the area to be gilded. This makes the work easier and ultimately saves a lot of wasted leaves. A gentle touch is recommended for applying gold leaf. It should simply be placed over the sticky glue and then released to fall onto it. If necessary, you can flatten the sheet slightly with a brush. After laying out the leaves of the leaf and covering the entire surface, if you missed any stains, you can apply a little glue, make it sticky and put a small leaf on top. The patch can be tapped lightly with a flat brush. These repairs should blend into the overall foliage. Then allow the measured sheet to dry thoroughly overnight. After the measured sheet dries, take a 1, 2, or 3 inch flat brush and lightly work it back and forth, gently fanning against the sheet. This will remove any excess overlapping sheets that didn’t stick to the glue. If gold leaf sticks to the brush, it means the glue hasn’t dried completely and you should allow more time for coloring. Drying time depends on many variables including the type of sizing used, the substrate and the temperature in your shop. After working with it, you will learn how long the drying time is for your sizing and shop. The longer you can let it dry, the fewer problems you’ll have. After the gilding is complete, you can apply a coating. Shellac, varnish, polyurethane or varnish will give the sheet an amber color. If you want a water clear coating, use a clear shellac or a water clear acrylic lacquer, which is a crystal clear, non-yellowing coating. To achieve different special effects, you can use different colored primers, antique color glazes or polishing agates to polish the sheet. You can also add some fly stains and distracting spots, or scrape and sand through the leaf to allow color primers to show through to create an aging process in the gold leaf. For your first attempts, you can try scrolling on small parts. Once you get the touch, you can flip anywhere you want to add some gold and silver effects. With a little imagination, you can even combine gold and silver to create many different looks. Gilding can add a touch of class to your work, enhancing and enriching it with a look that only gold and silver leaf can achieve.

Imitation leaf and copper leaf are thicker than real gold leaf but still need to be handled with care as the leaf can tear or wrinkle very easily.

Before gilding, you must ensure that the surface is clean, dry and dust-free. Once you have prepared the surface, use the ox hair fill brush to apply a thin layer of the acrylic gold glue. The ox hair is soft to eliminate the brush marks. Allow to dry for 15-30 minutes until the size becomes tacky like the glue on a post-it note. Once the acrylic sizing has reached this tack, you can apply the sheet. When gilding with the loose leaf you can, if you are very careful, take the leaf out of the brochure with your fingers and place it on the surface, but you may find it easier to use a badger hair gilding tip. The hair of the tip is gently brushed against the side of your face to build up some static or fat to pull the leaf from the tacks to the tip and then used as a support for the surface to be gilded. If you gild with the transfer sheet, this is glued to a piece of wax paper that acts as a support. Place the sheet face down on the dry tacky acrylic gold glue and gently rub the back of the wax paper to loosen the sheet from the surface, then peel off the wax paper. Since Imitation Leaf and Copper Leaf are thicker than real gold leaf, both the loose leaf and transfer sheet can be cut into smaller pieces with sharp chalk scissors.

Once the gilding process is complete use the gilder’s mops to gently brush across the leaf, this will remove excess leaf and also smooth the leaf. The mop is made of pony hair that is soft enough not to scratch the blade. Once the sheet is in place you can apply the shellac varnish, again using the ox hair fill brush to remove brush marks. Gold leaf and copper leaf both tarnish, so it’s important to apply a varnish over them to prevent the tarnishing process. However, silver leaf is aluminum and does not tarnish, so it is not always necessary to apply varnish.

Imitation Gold and Copper Leaf are for indoor use only. Imitation Silver Leaf can be used both inside and outside, but if you use it outside you must use an oil based size, not the acrylic size included in the kit. The gilding process is the same, but the oil-based sizing takes 1-3 hours to become tacky instead of 15-30 minutes and an exterior varnish needs to be applied.

This is only a guide to gilding with Imitation Gold/Silver Leaf and Copper Leaf. For a more detailed guide we provide a book called the Practical Gilding Manual which is a very informative book on all aspects of gilding.

Wrights of Lymm also offer a comprehensive range of Gilding Starter Kits which are ideal if you are new to gilding. The starter kits can be found on the Starter Kits page on our website.

https://www.stonehouses.co.uk/starter-kits/golding-starter-kits.html

CWB February 2001 Something about applying gold leaf The ancient art of gilding can add a touch of class to individual projects. By Mac Simmons The photo above shows a project in the bare wood state before the sizing is applied. The next photo shows the piece after it is sized. Photo 3 shows how the piece looks when the sheet is laid out, while the last photo shows the finished piece after the sheet has been fanned out and clear coated. Thanks to Dirk Boelman for designing the heart pattern and Janet Rancour for scrolling the piece. Gold leaf is an art that dates back to at least 2500 BC. dates back to This ancient art of decoration began when a tiny piece of malleable precious metal was struck into a wafer-thin sheet of gold only 4 to 5 millionths of an inch thick. These fragile gold leaves were placed on an object, an art that came to be known as “gilding.” Gilding can add an extra decorative touch to custom woodwork and can be useful in certain types of antique reproductions. This article is designed to help you get started with the art of gold (and silver) leaf. Although this is just an introduction, it will familiarize you with the basic methods and give you some tips to get you started. Gold and silver leaf can be applied to almost any clean surface including wood, leather, metal, plastic or glass. The materials needed can be purchased from most finishing suppliers or arts and craft supply stores. The sheet is generally sold in books. The process begins with “gold glue,” a type of varnish sold in slow-drying and fast-drying types. Polyurethane or lacquer can also be used as a size. The sizing is what the gold leaf adheres to as it dries and is applied with a flat brush. Once the glue has dried, the sheet is permanently held in place. The gold leaf will only adhere to where the sizing will be applied, so you must be careful to fully apply the sizing to the desired area. On the other hand, if you accidentally touch an area with glue that you do not intend to gild, the glue should be wiped off with mineral spirits, otherwise gold leaf will stick to the unwanted area. (Brushes should also be cleaned in mineral spirits once you’re done using them.) After the glue has been applied, let it set until it becomes tacky. It must be sticky, but not completely, or the sheet will not stick to it. Once the size feels tacky, the gold leaf process can begin. For your first attempts at gilding, I suggest that you start with the less expensive “Dutch metal composition foil” rather than pure gold leaf or silver leaf until you have perfected the application technique. It is extremely important that wherever you do your leafing there is no wind, draft, air circulation or other people walking around the room as gold leaf is very light and any movement of air will disturb it making it very difficult on the lay work. To apply the sheet, take a sheet by the corners and carefully lay it in place, each sheet slightly overlapping the previous one. (Tip: Rub your fingers through your hair or on your pants first to pick up some static electricity, which makes picking up the sheets easier.) Any sheet that tears or falls off should be saved. These pieces can be used to fill in areas where the sheet won’t stick or that you’ve overlooked. When applying leaves to rolled edges, carvings, shavings, or moldings, a brush is used to lightly press it into the crevices. (Here the sheet can often break and leftover pieces can be reused.) Depending on the size of the area to be gilded, you may cut the sheet before laying it over the work. While it’s still in the book, you can use an exacto knife, sharp scissors, or a single-edged razor blade to cut the sheet. Cut it slightly larger than the area to be gilded. This makes the work easier and ultimately saves a lot of wasted leaves. A gentle touch is recommended for applying gold leaf. It should simply be placed over the sticky glue and then released to fall onto it. If necessary, you can flatten the sheet slightly with a brush. After laying out the leaves of the leaf and covering the entire surface, if you missed any stains, you can apply a little glue, make it sticky and put a small leaf on top. The patch can be tapped lightly with a flat brush. These repairs should blend into the overall foliage. Then allow the measured sheet to dry thoroughly overnight. After the measured sheet dries, take a 1, 2, or 3 inch flat brush and lightly work it back and forth, gently fanning against the sheet. This will remove any excess overlapping sheets that didn’t stick to the glue. If gold leaf sticks to the brush, it means the glue hasn’t dried completely and you should allow more time for coloring. Drying time depends on many variables including the type of sizing used, the substrate and the temperature in your shop. After working with it, you will learn how long the drying time is for your sizing and shop. The longer you can let it dry, the fewer problems you’ll have. After the gilding is complete, you can apply a coating. Shellac, varnish, polyurethane or varnish will give the sheet an amber color. If you want a water clear coating, use a clear shellac or a water clear acrylic lacquer, which is a crystal clear, non-yellowing coating. To achieve different special effects, you can use different colored primers, antique color glazes or polishing agates to polish the sheet. You can also add some fly stains and distracting spots, or scrape and sand through the leaf to allow color primers to show through to create an aging process in the gold leaf. For your first attempts, you can try scrolling on small parts. Once you get the touch, you can flip anywhere you want to add some gold and silver effects. With a little imagination, you can even combine gold and silver to create many different looks. Gilding can add a touch of class to your work, enhancing and enriching it with a look that only gold and silver leaf can achieve.

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Pinterest

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Learn how to easily make a gold leaf Mod Podge flower pot! Yes, you can use gold leaf decoupage medium. Find out how here.

Required Skills: Beginner. It’s really easy to modify gold leaf – you don’t need much crafting experience to succeed. The only thing I would recommend is previous Mod Podge experience as gold leaf can wrinkle.

Hello dear mod podgers! It’s Linda, from burlap+blue, and I’m thrilled to be here today and to share another tutorial for these amazing succulent planters.

Spring is fast approaching (yay!) so I combined some of my favorite spring colors with my favorite plants (anyone out there LOVES succulents like me?) and created these gold foil decoupage planters!

These look great on the desk in my craft room, and succulents are so easy to care for, anyone can keep them alive! Would you like to create something similar? Here is the simple guide. . . .

Mod Podge Gold Leaf Planter

Materials:

Mod Podge Gloss

planter

succulents

gilding leaves

foam brush

craft paint

Step 1: Decide on your color scheme and start painting your pots. Mine needed between 2-3 coats depending on the color. Once done you will have these beauties. . .

Step 2: This next step requires some patience, but it’s worth it in the end! I know there are tools and products specific to gilding projects, but I love using what I have on hand.

I’ve found Mod Podge to be a great complement to gilding foils if you want that shiny, metallic effect that’s so popular these days!

First, place your Mod Podge on top of your planter using your foam brush. Place your gilding sheet onto your Mod Podge, press firmly and allow to dry (about 30 minutes).

Carefully remove your gilding foil, brush off the excess gilding material and if desired, seal with a clear acrylic sealer to set. I love the rustic edges and abstract shapes. . . but you can make your edges cleaner if you wish!

And you’re done!

Thank you for letting me share with you all today! You can find many more tutorials and inspirations on my blog, my Facebook page, on Pinterest or on Twitter! Have a nice day!

Skip to content Yield: 1 project Mod Podge Gold Leaf Print Can Mod Podge be used with gold leaf? The answer is yes! Find out how here. Prep Time 10 minutes Active Time 30 minutes Total Time 40 minutes Difficulty Easy Estimated Cost $2 Materials Mod Podge Gloss

terracotta pots

Gold leaf leaves

Craft Paint Tools Foam Brush Instructions Decide on a color scheme and start painting your pots. Mine needed between 2-3 coats depending on the color. Once done you will have these beauties. . . First, place your Mod Podge on top of your planter using your foam brush. Place your gilding sheet onto your Mod Podge, press firmly and allow to dry (about 30 minutes). Carefully remove your gilding foil, brush off the excess gilding material and if desired, seal with a clear acrylic sealer to set. I love the rustic edges and abstract shapes. . . but you can make your edges cleaner if you wish! Did you do this project? Please leave a review or share a photo on Pinterest!