Here’s is an overview of the techniques and materials used in gilding.
Where is Gilding found?
Gilding is the application of thin sheets of beaten metal (usually gold) to a solid surface as a means of surface decoration. Gilding is commonly seen on decorative items such as picture frames, mirrors and furniture. In addition, Artists have used gilding techniques in the creation of Fine Art. Gilding has been used in the religious and secular arts for several centuries, examples including Iconography, Illuminated Manuscripts and Verre Eglomise or reverse gilding and painting on glass. Architectural gilding, which also has long standing historic roots, can been seen on the exteriors and the interiors of churches and governmental buildings. Oftentimes, architectural gilding can be found in lobbies and public spaces of commercial buildings such as hotels and corporate head quarters. Sign Gilding is another discipline within the Gilding Arts. Sign makers will create gilded signs for exterior and interior applications. Often Sign makers will apply gold leaf to the interior surface of glass for lettering and other decorative commercial applications.
The two primary methods of gilding –water gilding and oil gilding– are described below.
Do Gilders use special tools?
The gilding process requires a specialized set of tools and materials:
- Gilder’s pad and knife, for handling and cutting leaf.
- Gilder’s tip, a flat brush-like implement for transferring leaf from the pad
to the object being gilded. Tips are available in various widths. - Burnishers – tools with polished agate (or other stone) tips for rubbing the
leaf to develop a highly polished surface. Four burnishers are shown
below, together with two “mops” –brushes for tamping and brushing away
excess leaf.
What is Water Gilding?
Of the two types of gilding, water gilding is the only method of applying gold leaf that allows the surface to be burnished which provides the highly reflectivity. Water gilding is only used for interior applications and is most frequently used on frames, furniture and objects. Preparation of the surface for water gilding is as follows and is then illustrated in the image below: Glue size is applied to the wood. Numerous coats of gesso are applied, sanded and polished. Several coats of gilder’s clay (bole) is applied and polished. Gold leaf is then applied using gilder’s liquor which activates the glue present in the bole and gesso. At this point, the leaf may be left as is, providing a matte appearance, or may be burnished with the polished agate. In order to further accentuate the burnished surfaces some areas of the gilding are left matte.
What is Oil Gilding?
Oil gilding or Mordant gilding requires that the surface be completely sealed and then a size ( oil varnish or acrylic) is applied. After a period of time the size comes to tack. At that point the gold leaf is laid on the tacky surface This technique does not allow the leaf to be burnished, and thus does not provide the brilliant finish of water gilding. Oil gilding allows gilding on a wider variety of surfaces than water gilding, and is the technique used for exterior gilding projects such as signs and architectural gilding.
Gilding Specialties
Now that you have an understanding of basic gilding technique, you may want to learn more about the following gilding specialties:
- Architectural Gilding
- Manuscript Illumination
- Verre Eglomise
- Sign Lettering
- Restoration and Conservation
- Fine Art Gilding
- Frames, furniture and objects
Architectural Gilding
Architectural gilding, which also has long-standing historic roots, can be seen on the exteriors and the interiors of churches and governmental buildings. Oftentimes, architectural gilding can be found in lobbies and public spaces of commercial buildings such as hotels and corporate headquarters. While most Architectural Gilding uses mordant ( oil gilding) methods some  interior installations require the use of water gilding and even glass gilding applications. Exterior Architectural gilding installations are only done with mordant gilding methods and commonly require very intensive surface preparation of restoration prior to any leaf being applied.
Conservation & Restoration
Gilding Restoration ,Carved Eagle The eagle was part of a late 18th century Girandole frame (made in Albany, NY) that had extensive gesso loss and was about 80% painted with gold paint., the “before” photo of the eagle is after the paint was removed.Approximately 10% of the original surfaces including gilding were saved.¬† The restoration process included stabilization and consolidation of the remaining surfaces. The areas that were not able to be salvaged were cleaned. Traditional Gilding gesso and Bole or Clay was applied with careful attention paid to matching the colors of the original clay. Once the surfaces were properly treated they were watergilded with 23 KT gold leaf and burnished with agate burnishers. Once complete and the restoration was complete on the Girandole the two parts were reunited.¬† Brad Sourdiffe
Manuscript Illumination & Fine Art Gilding
Manuscript illumination is the art of the handmade illustrated book developed before the
advent of the printing press, using gold leaf and handmade paints to create paintings of
gilded splendor. Books were written on animal skin called parchment and “illuminated”
by the use of gold leaf. Patricia Miranda
Illumination on Fine Art, Golden Grapes
This piece is part of a series of illuminations for a projected book on one of the Psalms. It
was done on goatskin parchment using 24K yellow, 16K white, 23.5 red gold leaf and
shell gold, using traditional manuscript techniques. The gesso base for the gold was made
from the traditional recipes  using parchment glue instead of the usual
fish glue. Glaire instead of water to moisten the gesso adding requiring the gilding to be
done within 24 hours or less. Only small areas at a time can be gilded with adjacent areas
being softened with you breath as you proceed. Since this was done as a piece of art and not intended to be bound into a book the gesso was  higher than the traditional for contrast. Barbara Wolff
Fine Art Gilding
As noted above, gilding as long been associated with manuscripts. From the early Italian
and Russian heritage, gilding has always been associated with Iconography. Today many
contemporary fine artists include gold leaf in the creation of paintings from landscape to
abstract expressionism. Artist use many different methods of gilding depending on the
work that is being created.
Signage & Lettering
Sign Gilding, “250 ” Door sign
Palladium Leaf was applied to washed antique glass using traditional gelatin size.  
After double gilding, to insure complete coverage of the gilded areas, the stencil is
carefully removed.  The background and the back of the numbers is painted  (2 coats)
with a sign painters oil paint. The entire back of the sign is then sealed with a Marine
Glass Varnish to protect from future cleaning . Sandra Spannan
Fire Engine Gilding
Fire engines from 1825 to 1940 were often decorated on their flat surfaces with gold
scrolls that were embellished to look like three dimensional carvings. After the gold
was applied as a silhouette shape, the artist would apply layers of transparent glazes to
simulate shadows. White lines and dots were then added to represent highlights on the
gold. The finished effect was quite convincing from a few feet away. This technique was
first used on furniture and architectural details in Europe in previous centuries.
Peter Achorn
Traditional Water Gilding & Furniture Gilding
Traditional water- gilding, hand made frames
Hand made frames may have many different types of finish treatments but amongst the
most beautiful are frames that have been water gilded with silver, palladium or any of the
Karet weights of Gold Leaf. Once the frame has been properly joined and detailed, which
may include carving, the surfaces are carefully prepared with Gilders Gesso and clay
(bole). the process prior to applying the leaf includes the build up of no less than 13
layers of the gesso and clay. The surfaces are carefully sanded and polished. The Leaf is
applied and the final finishing is done.
Furniture Gilding
Through out history, the making and finishing of fine furniture has often included
gilding. Depending on the style, the region of the world and the appearance of the
finished work dictates whether the gilding will be applied with traditional water gilding
methods or by mordant (oil gilding).
Verre Eglomise
Verre Eglomise or reverse gilding and painting on glass, Bamboo Forest Panels
These bamboo forest panels for an entryway were executed using the technique
of Verre Eglomisé, the process of gilding precious metals on the reverse side of
glass, etching in a design and setting it off with color. Materials used were 22-
karat gold leaf backed with acrylics. Miriam Ellner
Gilding and Decorating Glassware, Gilded Martini Glasses
First applying either prints of the artist’s original paintings or originals to the outside of the glass using decoupage technique the artist then layers the inner walls of the glass with 23 Carat gold leaf using the oil gilding process. the gilding is then sealed for practical use. Jan Maitland
Gilding Frequently Asked Questions
Whether you are new to the world of gilding or an old pro, you may have questions about gilding or Society of Gilders. If your question does not appear below, feel free to contact Society of Gilders and we
will do our best to help you. You may also browse the Forums and post your question there if you wish.
Q: Do you use real gold?
Yes, but in the form of gold “leaf”, or sheets of gold beaten tissue thin. Gold’s beauty, lustre and non-tarnishing properties make it the preferred material for most applications. Other metals or metal alloys in leaf form are used sometimes depending on the desired effect.
Q: I have an old frame that is dirty and dull. What should I do with it?
If there is a chance that the frame has any antique value, probably nothing. You can use a soft, dry brush to remove dust and dirt gently from an old gilded frame. Further cleaning of any gilded surface should be undertaken only by a professional conservator, especially if your frame has any antique value. Improper cleaning methods can damage the gilded surface (or even remove it altogether!). Before attempting anything other than dusting on a frame of any value, have it evaluated by a professional.
Q: How can I tell if something is covered with real gold leaf?
“Gold” frames are sometimes gilded with other materials, such as alloys of other metals, or silver that has a tinted varnish on top. An experienced eye can usually determine what material was used. In some cases, chemical testing may be required. As with cleaning, have the item evaluated by a professional conservator.
Q: I carved a sign. How do I gild the letters?
Gilding on signs is usually done using “oil gilding”, where the varnish-like “size” is applied, and leaf applied when the size is almost dry, but with still enough “tack” to adhere the gold to the surface.
Q: Why not just use gold paint?
“Gold paints” are not really gold, but are traditionally made with bronze powders suspended in a varnish-type of medium, and will tarnish over time. Some of the newer paints supposedly will not tarnish, but even so, the resemblance to real gold is remote, at best. Despite the ease of applying this material, its visual and physical properties are inferior to those of gold leaf. Objects decorated with gold paint simply do not exhibit the true beauty of real gold.
Q: Where can I learn how to gild?
An easy way to start is by checking the Society of Gilders regional education listings. Many Society of Gilders members also teach. If there are no suitable classes listed, or if you have a specific requirement, contact Society of Gilders for assistance in locating a teacher.
Q: Where can I buy supplies for gilding?
Many of our Society of Gilders advertisers and sponsors are suppliers of gilding materials. Some materials are available at general line art and craft suppliers, but you will find a much better selection from gilding specialists. In addition, businesses specializing in gilding materials will be better prepared to give you advice.
Q: I just want to learn enough to do one project. Can you tell me how?
Because of the depth of knowledge required to learn every aspect of gilding, it becomes extremely difficult for the society to answer individual technical questions. Most often questions require an answer too complex for a quick email or telephone call. Mistakes can be costly, either in waste of expensive materials, or damage to a valuable item. Gilding is a process that involves many steps, including surface preparation, application of leaf and finishing. Because the nuances of gilding require a depth of knowledge and experience handling various materials, it is very difficult to “tell” someone how to gild successfully. The best way to learn how to gild is to take a basic course from a qualified instructor. This will help to avoid mistakes, which can be costly or damaging to a valuable item.
Q: What is the purpose of Society of Gilders?
The Society of Gilders is a resource for gilders, restorers, conservators, and all those who work with and love gold leaf. Our goal is to educate the public and the trade about how to honor and respect the gilded object.
Q: Why would I want to join Society of Gilders?
Membership offers you a wonderful resource on the history and techniques of gold leaf, materials sources, classes, events and trade shows around the country, as well as an opportunity to network with other gilders. In addition, members receive discounts on Society of Gilders classes, materials, and events.
Q: I would like to join, but I am not an experienced gilder. Am I allowed to join?
Society of Gilders Membership is open to any interested individual, institution or corporation. Membership is based on interest in gilding, not skill level, so this would be an excellent opportunity for developing your gilding skills.
Q: Why should I come to Society of Gilders conferences/meetings?
Especially for gilders who work on their own, or who may be in non- metropolitan areas, Society of Gilders events provide opportunities to meet other like-minded artisans, so you can network and share ideas and problems relating to the gilding arts.
As a traditional iconographer painting by hand with egg tempera, I truly appreciate this insightful overview. In the sacred arts, the choice of gilding technique is highly deliberate.
While traditional water gilding allows for a mirror-like finish, I personally prefer a softer, more revered matte or lightly burnished look for backgrounds and halos, rather than a high-mirror polish.
For the traditional assist technique (chrysography)—used to execute the fine rays of divine light on garments, thrones, and wings—using a precise mixtion (mordant size) is indispensable. It allows us to lay down ultra-fine lines of gold leaf directly over the painted tempera layers, creating a beautiful, subtle contrast with the main background.
Thank you for preserving and sharing these essential traditional methods!