C : Good morning Franca, let's talk about decoration again. There previously you had talked about gilding.
F : Gilding more than a craft is an art, which implies an artistic taste
of the gilder and a knowledge of the ornamental styles of the various time periods. This is because it needs to be contextualized.
C : So you're saying that gilding can be used in multiple environments?
F : Yes, of course. You can insert it in modern furnishings.
Normally it is associated with important, noble environments of historic value such as villas or palaces. But it’s not like this. For example I used it in small inserts on decorated walls, or for embellish objects, restyling furniture or recovering an already golden object.
C : The theme is very much felt in this period of economic crisis.
Often if you do not have economical opportunity to redecorate, it can be interesting and original to bring back to life objects and forgotten furnishings that lost their identity.
F : in fact both the decorator and the gilder (because it may be that One does not know how to do the work of the other, even if both of them do work in decorative field) are key interpreters for the recovery and enhancement of antique elements and not only.
C : is there more than one type of gliding?
F : Definitely! the key difference is whether you use pure gold a non-noble material but having similar effect to gold (metal powders such as brass, copper, etc.). I also remember that there is silvering done with the same method. In fact both the decorator and the gilder (because it may be that One does not know how to do the work of the other, even if both of them do work in decorative field) are key interpreters for the recovery and enhancement of antique elements and not only.
C : I guess the difference is in cost, in realization and time.
F : Gold is an important and precious image, so it becomes the protagonist of the environment in which it might be inserted.
The use of pure gold can be interesting for those who want something exclusive and at the same time of effect (pure gold reflects the light in a unique and inimitable way).
However, there is also the technique of similar gold plating that is more simple in its realization but not as durable, as it wears off in a shorter time.
C : But on what surfaces can you apply gold? Does it need a particular material whether it is applied on a wall or wood or other material like glass?
F : Ideally it would treat the bottom of the wall or the wood with the
plaster to make the surface as smooth as possible, then apply Gold Leaves with the technique of "guazzo gliding" that will later allow bruniture (polishing).
It is also possible to intervene on other surfaces, such as glass or metal, with different operations.
C : I think of a lamp I used and that is known. The structure is metallic. The product is industrial but surely it was finished by hand.
An example of furnishing element that uses an antique technique in a key
modern and can give prestige to the whole environment.
But I've always wondered how gold clings to a material like metal ... or glass
F: Each surface requires the knowledge of the appropriate technique,
in metals instead of using the guazzo gliding technique it will have to use a gliding with solvents or mortgers, to allow an appropriate grip of the gold leaf.
C : Because if you start from the antique recipe formulated on the experience of centuries of work then you can experiment and get results in a modern key.
F : Certainly, but today is not simple to find a decorator that knows well the antique gilding technique or silvering. The expert decorator knows that the most effective gold occurs if it is apply on a proper base like the red of the Armenian bolus, a mix of clay soil that can be used in various colors depending on the nuances and finishes you want to get, the color of the bolus is in fact seen through the color of the leaf.
C : in the frame you made for me you have also used another effect. What is it?
F : In that case other than gliding I used a knitting decoration as well that involves knocking gold with appropriate tool (bolino) to achieve a bas-relief. But I could use other effects like burning obtained with agate stone or a realized decoration with gesso.
C : I understand that for all these techniques there are many steps that must be taken in very precise times and then your work becomes as precious as the noble matter you used. Handmade works cannot be replaced by other mechanical means which is used on great scales of distribution and more than craftsmanship we are talking about artistic work.
F : I actually feel an artisan/artist because through technical mastery I work to create unique pieces.
C : so I can say that at an empathic level you can to interpret my requests in order to fulfill the wishes of clients, just mentioned or self-expressed (the choice of color for example is personal). This way by joining my own aesthetic image of the environment to your technical interpretation/artistic view together we can translate a personal image of the client that is unexpressed.
F : I agree. The fact of putting a piece of yourself, trying to welcome the self expression of the customer rewards us all, buyer, designer and artist.
C : Having this possibility is a great opportunity that is often overpowered by the fashion and the standardized trends of the moment.
F : in fact ... on our own we can try to give a message that is not mainstream.
C : Meanwhile let’s talk about it, let's make it known that there are different possibilities, then who knows that seeing these pieces, people understand its value and appreciate exclusivity. It has always been like this for centuries, why should it be different now?
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