White Gold – Nina Campbell
White Gold – Nina Campbell DECEMBER 16, 2011
White Gold – Nina Campbell UK
DECEMBER 16, 2011
This pretty wall hanging crystal chandelier.. in white gold. Nick Garrett
via White Gold – Nina Campbell.
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New Ornate sample – Nick Garrett
In the studio – Nick Garrett
Visual below to be created on plate glass in white and yellow 23ct gold.
Above: Ipad 2 as a light box!
This panel is 20cm x 20cm and just started.
The outline is down and next comes second coat – then the gold
Below: Done! Gilded and backed!
Nick Garrett
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Enter another world – gilded magical
Verre églomisé – making antiqued Italian glass gilding
Sample making in Italy
Tricky finding the right materials overseas… Going with what I have – not ideal but opens up new opportunities, sensations and textures… and guess what, just found the best white gold leaf in the world!!
PDF Verre Eglomise Samples – Campioni – Nick Garrett
Above: Photoshop visual – Below: sample on the bench
See ...Samples on the bench
Last week (November 2011) I dropped by Handovers art and gilding suppliers in Finchley, London, and picked up some materials namely white gold and some nice writers’ brushes.
Above: Here the panel is wet pre burnishing – will update shortly. Top Left corner has been burnished.
This sample was started a month ago and I have just had a play with it this evening.
Aims & inspiration –
To be honest I hate glass gilded panels that are left bare and un-aged. I only really like it plain in the sign-writing context. Until very recently… and now I intend to do something refreshing.
If you’re gonna make a finish you’ve gotta be moved by it… so where’s the inspiration other than a deep historical context?
Frescos are my constant inspiration.
On decorative panels I think glass gilding usually looks too laboured and heavy. However, when French or Italians handle this process it changes… the same too with their Stucco Veneziano – it just flies and sings… it’s spontaneous…
English, Australian and US finishers usually get too hung up about neatness and lose the life in the surfaces… they miss the point, tend to be tighter and insecure.
The Italian hand
I noticed this in 1991 while standing aghast in the Duomo in Florence … getting close up to the marbling on the facades and pillars and it was all brush strokes, slips and catches… stand back and it hung together like magic. In UK the marbling would have been perfect close up and dead at a distance… Da Vinci and his buddies could do both of course!
The Italians have it! Simple as that!
I want it to ‘float’, look light, magical and natural in some way… you have to learn to let it go…
What I am really interested here is the combination of filtered gold duo tone and a really natural looking distress, so far that has come up really nicely here – the other stuff is incidental at this stage.
Most glass gilders get stuck on mechanics and never really loosen up allowing real aged richness to happen. I always look for something unpredictable… a bit of magic. This is starting to get it.
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