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This is an interactive Bulletin Board on the topics of Sign making, design, fabrication, History, old Books and of coarse Letterheads, Keepers of the craft. The Hand Lettering Forum features links to resources, sign art history, techniques, and artists profiles. Learn more about Letterheads at https://theletterheads.com. Below you'll see Mchat has been added as a live communication portal for trial, and the Main forum Links are listed below.
This is an interactive Bulletin Board on the topics of Sign making, design, fabrication, History, old Books and of coarse Letterheads, Keepers of the craft. The Hand Lettering Forum features links to resources, sign art history, techniques, and artists profiles. Learn more about Letterheads at https://theletterheads.com. Below you'll see Mchat has been added as a live communication portal for trial, and the Main forum Links are listed below.
Verre Eglomise
Moderators: Ron Percell, Mike Jackson, Danny Baronian
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- Posts: 1213
- Joined: Sat Jul 10, 2004 11:12 am
- Location: ENGLAND
Verre Eglomise
I get some unusual requests for reverse glass from time to time the National Trust recently asked me to copy a 17th century piece of glass verre eglomise which came out of Privat Manor house .
This was the first time for me to have a go at this type of work and I must say it's very satisfying technique.
Tony Seagale showed me some of his work last year and he gave me some good directions. Here are just a few photos of this panel.
Once all the gold is removed I will give it a coat of dragins blood red and then oil gild in silver leaf to match the original.
Dave
the original made in 1700
made today
This was the first time for me to have a go at this type of work and I must say it's very satisfying technique.
Tony Seagale showed me some of his work last year and he gave me some good directions. Here are just a few photos of this panel.
Once all the gold is removed I will give it a coat of dragins blood red and then oil gild in silver leaf to match the original.
Dave
the original made in 1700
made today
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- Posts: 702
- Joined: Thu Apr 08, 2004 10:20 am
only need three things for rendering the verre eglomise techniques...
passion
patience
persistence
if you're gonna persist, you have to persist harder.
nice persistence, Smitty.
passion
patience
persistence
if you're gonna persist, you have to persist harder.
nice persistence, Smitty.
and he took that golden hair and made a sweater for baby bear.
http://www.tonysegale.com
http://www.tonysegale.wordpress.com
http://www.tonysegale.com
http://www.tonysegale.wordpress.com
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- Posts: 502
- Joined: Tue Apr 20, 2004 11:53 pm
- Location: Penzance, SK Canada
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You know what I like most about that Dave, it's that you let loose and imitated it in all it's "roughness". Was that hard to do? I know your work is much more refined.
Or did you painstakingly place each line in exactly the place it should be?
Or did you painstakingly place each line in exactly the place it should be?
I believe there is no shame in failure. Rather, the shame lies in the loss of all the things that might have been, but for the fear of failure.
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a little follow up here, Englishman...
I belong to small art salon here, five artists who gather together every couple weeks,
call ourselves the 'Red Moon Art Whores' since our inaugural meeting happened on a lunar eclsipse.
One of the artists brought me a clip from the Wall Street Journal. see link attached..
http://online.wsj.com/article/SB121580707807346749.html
I belong to small art salon here, five artists who gather together every couple weeks,
call ourselves the 'Red Moon Art Whores' since our inaugural meeting happened on a lunar eclsipse.
One of the artists brought me a clip from the Wall Street Journal. see link attached..
http://online.wsj.com/article/SB121580707807346749.html
and he took that golden hair and made a sweater for baby bear.
http://www.tonysegale.com
http://www.tonysegale.wordpress.com
http://www.tonysegale.com
http://www.tonysegale.wordpress.com
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- Posts: 1213
- Joined: Sat Jul 10, 2004 11:12 am
- Location: ENGLAND
Kelly. You know I did find it hard not to make the lines perfect with single strokes of the needle that I used. I was asked to copy the irregular lines and to keep to the same style.
Very hard as you tend to want to do your own thing .I did look closely at the original for direction of light and shapes but basically just copied the main lines and the rest just flowed into place.
Wow!That panel on the ship is just amazing Tony ,can you imagine how long that would take any of us to make. I would love to have a go at something like that if the commision was there. The French are very clever artisans. I have seen alot of this work in Paris some very remarkable pieces.
Beautiful work but I still prefer the acid etched techniques(brewery scenes) which looks simalar to these techniques, I guess it's the slight embossing to the buildings and people that catches my eye.
Thanks for sharing .
Dave
Very hard as you tend to want to do your own thing .I did look closely at the original for direction of light and shapes but basically just copied the main lines and the rest just flowed into place.
Wow!That panel on the ship is just amazing Tony ,can you imagine how long that would take any of us to make. I would love to have a go at something like that if the commision was there. The French are very clever artisans. I have seen alot of this work in Paris some very remarkable pieces.
Beautiful work but I still prefer the acid etched techniques(brewery scenes) which looks simalar to these techniques, I guess it's the slight embossing to the buildings and people that catches my eye.
Thanks for sharing .
Dave
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- Joined: Tue Apr 20, 2004 11:53 pm
- Location: Penzance, SK Canada
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Well I know only too well how difficult it is to capture the imperfections of someone elses work. It's easy enough to execute your own style or else careful mechanical like symmetry. What is hard is to create loosely in a foreign style, you either start to fall into your familiar movements or else tighten up so that the lines are rigid and lack fluidity. You did remarkably well at retaining the character of the piece.
I believe there is no shame in failure. Rather, the shame lies in the loss of all the things that might have been, but for the fear of failure.
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- Location: West Sussex.England
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- Joined: Sat Jul 10, 2004 11:12 am
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Jerry.
I used to buy this paint from Rick at Esoteric he named it dragon's Blood. I now buy from Nazdar, they have a nice colour range.
Its good for screening a basecoat down then a coat of thin shellac and then backing up with black and different colour reds which keeps the colour very Deep burgundy as aposed to going brown like when you mix red and black together.
And as you see you can back up with gold/silver etc. Abalone also looks great behind a transparent coat of this paint.
I brushed a thin layer on this piece and then backed up with 12crt gold.
Hope this helps mate
Dave
I used to buy this paint from Rick at Esoteric he named it dragon's Blood. I now buy from Nazdar, they have a nice colour range.
Its good for screening a basecoat down then a coat of thin shellac and then backing up with black and different colour reds which keeps the colour very Deep burgundy as aposed to going brown like when you mix red and black together.
And as you see you can back up with gold/silver etc. Abalone also looks great behind a transparent coat of this paint.
I brushed a thin layer on this piece and then backed up with 12crt gold.
Hope this helps mate
Dave
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- Posts: 369
- Joined: Wed May 02, 2007 3:17 pm
- Location: pacific northwest