I still cannot figure out how to make this blog look good. Uploading pictures is fine, but how to control the layout so the pics are discrete, without text in the picture boxes is right now beyond me.
Doing it straight from the iphone is very easy, but the quality is rubbish. Then suddenly the text is enormous, and BLUE? What's that about?
Time to do all this....
Friday 16 November 2012
Thursday 15 November 2012
Gilding
I am using moon gold for the ornament. Here the glass is half gilded. Once dry I will turn th glass over, or round, and gild the other half.
Wednesday 14 November 2012
Video link
I am exploring all the ways I can promote the book, video and ebook.
It strikes me that while I am working on this latest project, using materials and methods that have served well and remained unchanged for some 500 years, as
far as todays' communication possibilities are concerned, I am shifting into another dimension!
For example, I have today discovered that yesterdays post could have been done not only quicker but better if I had used my iphone.
No, I am not correct. The pics were taken with a camera, and I edited them. And I typed at the computer and not on that tiny screen. But, anyway, I will in future use the phone more and see how it works, and looks.
On another subject: I have reduced time in the studio as ( I am sure I have mentioned) we care for my parents (90's) and that means LOTS of cooking (and the rest). And I am really getting into it. Necessity has led to this new passion; I LOVE it.
Maybe there will be pic of the latest dish next time!
More soon.
Tuesday 13 November 2012
Back into the studio, at last
After a whole year of other work, my first project in the studio is to make a reflective or mirror-like panel that is to be hung on the wall behind this mantel clock (1). I was given some recycled window glass 48 x 23 in/117x 59 cm. I could envision the side panel (2) of pierced brass as engraved gold, and I could simulate the background in a translucent pink.
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| 1. Clock, front |
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| 2. Clock, side The first thing is to make the design fit the glass. By chopping off the bottom set of scrolls it fits well, and I go on to square it up so I can enlarge the design to life size. (3) (By the way, it is proving a nightmare to organize the pics and text so I shall just carry on with the commentary and hope it is clear. I shall have to learn how to do this.) |
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| 3. Squaring up the design |
But he design of the pierced brass is degraded, that is to say it has been copied over and over with the result that all the detail has broken down. I study the back of the clock (4) which is engraved steel but the style of ornament there is quite different! It is earlier, rococo, when it was fashionable to turn classic acanthus ornament into forms such as waves and clouds. The two styles are miles apart.
I will have to go back to basics so I have more information and better understanding of what I am doing. To do this, I turned to the source, Michelangelo Pergolesi, c. 1780's, (5) and now attempt to marry all 3 styles.
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| 4. Detail, back of clock |
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5. Pergolesi
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Next to do, draw the other half, all on the front of the glass (using tracing paper),, turn over, clean thoroughly and gild!
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| Removing window putty, nasty job. |
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| 7. Drawn onto tracing paper |
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| 8. One half is drawn out More in part Two. |
Friday 2 November 2012
Its been ages I know and if anybody has been missing these riveting bulletins, I must apologise.
Life is full, as for so many people, and though I do of course have stuff to say, you know, the fact is much of it can wait. None of it is that important, but here is a brief update.
First... see this review!
Life is full, as for so many people, and though I do of course have stuff to say, you know, the fact is much of it can wait. None of it is that important, but here is a brief update.
First... see this 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 Eglomisé, 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 BAFRA 28.10.12
And these also came in:
….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 enjoyed the book enormously, and thought it very clear, practical
and informative. Karen Lawrence,
glass artist, London
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
...I 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....Thank you for
making me even more determined to crack on with one of my better design
brainwaves... One thing I would add - I find that 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 to learn from and work with, not just
to gawp at. Raised NEVER to scribble in books (oh the shame!) I now find that I
do scribble, but only in the genuinely useful workaday ones....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
The sales of the DVDs are slower, but will continue to dribble on, I am sure. So far no news on a US distributor as I have had no time to hunt for one!
Finally I am slowly getting back into working in the studio. I have various projects to do and the prospect of drawing and gilding again after a year or more is exciting. But work is frequently interrupted as caring for very frail parents (we live together, did I say?) takes priority and other family stuff can also happen. As you, dear reader, surely know. At least I am not working to deadline. Putting myself into that position would be stupid (as long as I can control it). I don't deal well with stress.
All the best, f
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