Tiny gold leaves everywhere!!! *grins wildly*

Back at the end of 2020 I worked on a lovely scroll of arms. Having just started using gold leaf on scrolls I wanted to find something that I was confidant I could actually buy also interesting enough to look at that it wouldn’t feel like a labor without reward.

Picking an ideal scroll was first on the docket. I found this exemplar and thought it perfect to practice my skills in both gold leaf and line work. I do try to make very intentional choices when developing my scrolls so that I have a skill that I can show off and practice. I think it really important to have that balance when learning something new.

The calligraphy was placed first. Only on rare occasion do I not do this first – it was recommended to me in the beginning of my scribal career and I truly can say it has saved many scrolls from doom!

After laying the calligraphy I put down the minatum. In my previous post I detailed my miniatum process; but for those of you who might not want to switch pages… —>

My method is this:

– Humidify your miniatum (I lightly breathe on it, as if I were fogging a mirror). This activates the sticking component in the glue. Wait a few seconds.
-Take a small section of gold leaf (still attached to the wax paper it comes on) and press it firmly onto the area you wish to cover. I then gently rub a small river stone or embossing tool over the outline of the image to make sure the gold stays put. I previously tried not doing this and had trouble with the edges of the gold leaf coming off.
-After removing the wax paper, I take a smooth flat paint brush, brush it on my oily nose (the gold needs something to help move it) and tuck the gold onto itself and move away any extra that have attached to the paper where I did not lay miniatum. This part of the process sounds so strange if you have never done it in person.
-Finally, if areas are looking a little cloudy, I take some the wax paper, and place it over the gold before smoothing it again (gently). There is also the option of using a silken pounce bag to help create additional shine.

Though this scroll technically came BEFORE my last post (time gets away from me and I forget things >.< ) I really did learn a lot in this gold laying process.

For instance: I panic messaged my teacher because my gold wasn’t sticking. The methods of trouble shooting later and we find out I’m not sealing down the edges of the gold after I press it onto the miniatum (using an embossing tool or a smooth stone very gently around the edges). Another trouble shooting moment: WHY IS THE GOLD WRINKLING?! Come to find out, it is better to lay a few thin layers of minatum than one thick layer, which prevents the adhesive from wrinkling as it sets and dries. Who knew?! No worries though, I just relaid the gold in areas that I felt were not substantial, or never took the to miniatum – easy peasy!

Aside from my wonderful lessons learned, I was able to practice fine line work. I mention this just about every blog post but I think that it is very important. Many times it is the very small details that can make your art next level – that I what I am striving for. And so because I want my scrolls to have that extra so thin —> line work. Depending on what the lines are for dictates whether I use a brush or a quill. If I am outlining gold work I will use a brush because a quill scrapes away at the gold (sadness) but if I am putting down line work that stands alone (see previous post) I will most DEFINITELY use a quill (a crow quill to be exact).

All in all this was a fabulous and fun scroll to work on. I definitely don’t worn enough on scrolls in this style but would love to get a few more going in the near future!