The April Demo

Making, ebonising and gilding an ornamental vessel.
by Emmet Kane.

As Emmet loomed loftily behind the little lathe, he explained in that naturally relaxed manner of his what he intended to do;- produce an ebonised vessel with some gilding included- from a piece of wet oak branch, approx. 250mm. Long and approx. 170mm. Dia. which he had mounted using a faceplate,( but he would normally use
Axminster gripper jaws). Using a multipurpose gouge (Emmet`s description) the outside was shaped, and a hollow formed at the top (A) for the gilded area, which was finished smooth as any blemish, roughness,etc. would show through the gold leaf. With a 3mm. parting tool the leaves were cut at approx. 10 deg. downward inclination to the desired depth and this required tool sharpening a couple of times.

The ebonising was next done. The solution-white vinegar with steel nails or steel wool left immersed in it-was painted on and left for 3 to 4 mins. before washing off with water. (Immersion in the solution may be easier sometimes) Emmet puts wedges between the leaves at appropriate points for added effect before drying which he does in his kiln for 4/5 weeks at 20 deg.C. He continued the demo. by using a similar ornament previously seasoned, by rechucking, cleaning up, and smoothing as necessary, and slightly sanding. Artists red paint was then applied to the surface to be gilded. The finish was next applied to the outside, this was a mixture of 1part Danish oil and 2 parts Liquid paraffin,( which for proper penetration between the leaves is best sprayed on), then buffed with a polishing brush. Emmet then sat down to carry out the gilding. Blackfriars oil based size was brushed over the artists paint, allowed to dry till tacky, then gold leaf delicately applied and gently rubbed down with those big fingers, section by section until all gaps were covered and two coats applied. He emphasised that the surface for application must be dead smooth and atmosphere free from dust for best results. To complete the process, the gilding is left for 1 or 2 days, then brushed over with a camel or mohair fine brush.

. Finally he suggested that those starting on gilding should practise with false gold or copper leaf which is less expensive.

So sincere thanks to Emmet for this well planned, entertaining , informative and wide ranging demonstration of his skills, and his entrepreneurial approach to turning.

Michael Forde