Estofado (Patreon)

For a long time I wanted to try this method of creating an ornament, but I did not dare because the method itself was not entirely clear. The principle is simple, first, as usual, gilding is applied, then a layer of paint is applied, which is scratched with a wooden rod after drying. For me it was not entirely clear what kind of paint it was and all the subtleties of application. I like the effect this method creates and the fact that this method can be used as an alternative to applying thin lines over the paint layer. The method that I usually use to create thin golden lines is called Assist, and the method of applying paint over the gilding with further scratching as far as I know is called "El estofado". The advantage of the “Estofado” method is that it is not necessary to use pure gold, but imitation of gold is also quite suitable. Now I will tell you step by step my actions.

Yolk tempera.

So, the paint I used for painting was yolk tempera. For those who have not encountered this paint before, I will describe the preparation process. Like any other paint for painting, yolk tempera consists of a binder and a filler. The filler is a pigment that is rubbed with water between two matt surfaces that are harder than the pigment itself, usually glass. In my case, I used a piece of matt glass that I bought from a hardware store and the glass muller which I’ve made myself using sandpaper.

The binder is a yolk emulsion. If you put them together, you get a yolk tempera. Due to the fact that the yolk emulsion spoils quickly enough, they are mixed together already on the palette. From the video, you can get how you can make a yolk emulsion for tempera. You will need one chicken egg yolk without membrane and protein and dry white wine. The proportions are 1: 1 or 1: 1.5. I pre-mixed the colors with each other and added water. After mixing uniformly, I applied a glass muller for a finer grind. Then mix the emulsion with the pigment and apply to the gilded surface. Pigments which I used: yellow ochre, ultramarine blue, raw umber, black and titanium white. About the surface. I usually cover the gilding with shellac, although many do not because the varnish reduces the shine of the gold. This is true, but without protecting the surface with varnish, the gilding will be vulnerable to mechanical damage. As well as if you use imitation gold, then it is necessary to varnish it to prevent oxidation. However it is difficult to deny the fact that before covering with a protective varnish, gilding looks much more attractive.

After the paint dried, I sharpened a wooden stick and began scratching out the ornament. An important point. For some reason, the paint was scratched along with the gold, which was not in the case with my experiments. I solved this problem by simply wetting the paint surface with water, after which the paint was easily removed leaving a golden ornament. Since this method is only used in some places, I divided the rest of the surface into pieces with different patterns, which I have already done with oil paint. In the end, I covered the entire surface of the gilding with oil varnish.

In general, the idea was to create the effect of a patchwork quilt and included glazing over gold to create folds, but more than once I have already changed my original plans. I decided to deviate from the original plan since the result I got is already good. However if I choose in painting between the principled adherence to the original plan and the average result on the one hand, and an unpredictable ending but much more successful result on the other, I will choose the second. Which I did.

However if you have any questions about technique or materials, do not hesitate to ask.

Thanks for attention.