I have discovered that as well as learning a new technique with metal leafing, I have also developed a new set of terms in describing it.
Most everyone understands about “coating” a painting, but “sizing” (with adhesives), “sealing” (to prevent oxidation), “clustering”, “feathering”, “integrating”, “toning” and “layering” are used in a different context than usual.
CLUSTERING – I apply many small bits of metal leaf in an area, either to emphasize the light effect or to create a pattern.
FEATHERING – I space out the metal leaf radiating from the cluster so there isn’t an abrupt edge of metal leaf.
The “cluster” is the nearly solid area of metal leaf and the “feathering” surrounds it.
INTEGRATING – I combine the different colors of metal leaf on top of an oil painted background to achieve a certain impressionistic effect.
The gold, silver and copper metal leaf are “integrated” over a deep gold and burnt sienna background.
TONING – I brush a thin film of oil paint over sections of metal leaf and wipe off most of it, leaving just a blush of color.
LAYERING – I apply another group of metal leaf bits over the toned areas to give more depth.
I am always scrupulously careful to describe my process as “metal Leaf” and not “gold leaf” or “silver leaf”, which would imply that they were “genuine”. The gold color I use is an alloy of 88% copper and 12% zinc and the silver is 100% aluminum. The copper, however is genuine.
I am also very careful to seal the metal leaf after every new application and then do another overall sealing before the final coating of varnish.
All of this takes time, particularly, as I’ve mentioned before, in the drying time between stages of the process. The whole technique could get tedious with so many steps, but the effect and luminosity of the metal leaf continues to fascinate me as I see new ways to use it to accent my work.
