Burnished

I'm still working on the three frames I showed you in the last post. After the gold is "set up" or "cured" on the frames, it is time to begin the burnishing. In this photo, just about where the glare spot is, you can see on the narrow left surface where the sheen of the burnish,  on the lower half, meets the flat matte look of the unburnished gold on the top half. The flat panel to the right will be left unburnished. By alternating a burnish and matte suface one can achieve a look of interest and dimension.

These are a few of the tools used to burnish gold with. These happen to be polished agate stones attached to wooden handles. In days of yore, bone and or antler points were used.

Here are the three frames that have been burnished and rubbed lightly with pumice to allow the under color of the bole to appear and further influence the look of the gold. Next step is to add a protective coat of shellac.

These frames are going to be reproductions of old frames. I want them to look like they have been around for a hundred years or so. After the shellac coating I will add a lightly colored patina and do some antiquing to the frames. I'll post the finished results when I get them done.

As a side note, I was interviewed yesterday by WATCH Publications of Telluride, CO. for an upcoming article in one of their magazines. The focus of the article will be on me as a gilder, both of gold on frames and gold on glass. That'll be some great exposure.