Rick Glawson's Angel Gilding Article "Reprinted from the July, 1988 issue of Signs of the Times magazine" Cover shot close-up on the right>
	In the interview with Tod Swormstedt, Rick mentioned a book by E.C. Matthews that described the basic process of Angel Gilding. According to Rick, it "was probably the most significat clue of all". Those couple of paragraphs are in italics below, followed by the actual page or two from the 1920 book... "The next delopment happened at a Letterhead meet – A Happening Fandango – in May, 1986. A fellow signpainter, Rufus DeSoto (St. Martinville, LA), had brought a copy of HOW TO PAINT SIGNS AND SHOWCARDS, by E.C. Matthews which he thought I might want to see. Because it was Matthews, the book got my attention and I started reading through it. There, in the gilding section, was probably the most significant clue of all: a description of a “new gilding process patented by Mr. Andres of San Francisco.” Matthews went on to give a full description of how to use a gold solution for gilding on glass. The crux of the process was that the gold was backed up with an application of silver solution for added brilliance and bulk. I now knew two things. First, why the silver was behind the gold and secondly that it is more feasible than using gold." How to Paint Signs and Sho Cards, by E.C. Matthews, First Edition 1920 "The new method of glass gilding as patented by F.O. Andres Sr., 424 Hayes Street, San Francisco, Cal., will probably replace gold leaf to a great extent. It is not only cheaper and quicker but you can get a better gild than was ever possible by the old method. The only special tools you need are two bulb atomizers with graduated glass jars which Mr. Andres sells at $2.50 each. He also sells the solution, you can get prices by writing to him at address given on opposite page or 2412 Fullerton Ave., Chicago, Ill. The first thing to do is to practice with the atomizer until you can get a smooth flow of water on a glass plate standing upright in front of you. Fill the jar with water, screw the top (always be sure it is tight), squeeze the bulb two or three times then take it easy; it will spray a steady stream. To clean the surface of the glass before starting to work, make up a bottle of cleaning fluid by dissolving 2 oz of washing soda and 1 oz each of fine pumice stone and whiting in half a pint of water. Shake well and rub some of the liquid on the glass with a clean cloth, leave it on a couple of minutes to cut the dirt then rub it off with a clean cloth and some dry whiting and polish the glass clean and dry. The sample outfit contains three chemicals for gilding, No. 1 is the gold, No. 2 is a cutting agent and No. 3 the depositing agent. In some cases No 1 and 2 come already mixed together. Mix the solutions with distilled water only, use clean bottles and keep them tightly corked, let the solution stand twenty minutes or more after mixing before you use it the first time. Different strengths of the compound require different proportions of water, the proper amount is stated on the sheet which accompanies the bottle of compound. The silvering compounds A and B are each mixed with 8 oz of distilled water. Mix 5 grains of the sizing compound with half a pint of distilled water (this is only good for one day, mix fresh size every day) after the compound has dissolved size the glass with it using an atomizer or an ordinary camel hair size brush. Wait a minute or so then put a little distilled water in the gold atomizer and spray it over the sizing. Now mix equal parts of the gold solutions in the atomizer cup and begin to spray it on the glass. It will begin to show a gold deposit on the glass almost at once, it works faster on warm weather than in cold. After you have gilded the glass put a little distilled water in the gold atomizer and rinse off the gold. Now take one-half each of silver solutions A and B and mix them in the silver atomizer and spray over the back of the gold. The more silver you use the lighter the gold will be, it only requires about half as much silver as gold to produce a tone about like XX gold leaf. As soon as this is dry you can back up, you can take a clean, dry chamois skin and tap the gold gently, this will dry it almost at once. The solution has caustic (ingredients) in it which will spoil woodwork if allowed to stand on it, Mr. Andres has a runner to catch the water on window work. The solution cannot be used over varnish centers or black outlines therefore the old gilding method will be necessary in some cases.... "
			Additional Rick Glawson Pages: Raymond Chapman's Eulogy Tips and Techniques June 1988 Signs of the Times Angel Gilding Article Glue Chip on Glass-Rick's Asphaltum Method Glue Chip on Glass- Bob Mitchell's Method Varnish and Paint List and Suggested Uses Angel Gilding Instructions Silvering Instructions Black Glass Instructions / Lead Nitrate Acid Etch / Mica Process Abalone Applicaton Techniques Blended Backgrounds as described by Larry White Smalts and Smalts Techniques Decalomaniac - Lee Littlewood's paper on Decals Treatise on Gold Size Rick's George C. Brooke Glass Sample Album Shellac Information and Techniques Current Supply List
				Return to the Top of This Page Return to the Main Page