The gold drying to the glass seen on the outside. Keeping the gap between the main writing & the shadow but also keeping the thickness of the shadow consistant. While this was left to dry an away shadow was hand painted to make more of a feature of the script lettering.Īll the shadow is produced with one stroke signwork. The gold is applied by the centres of the lettring being brush covered in ‘size’ which is left to go just slightly tacky & then the sheets of pure gold are laid over where the Size has been applied. Once all dry the size & gold leaf can be applied. The areas that require snagging are circled on the other side of the glass so they can be corrected before the paint dries. This method still gives traditional paint as glass signage but takes less time to do, which in turn makes it more cost efficent to have painted signs for the client. The time consumption is viatl in terms of costing as they say time is money. Firstly it keeps the lettering neat, which if produced by hand is achieveable but the process atkes a lot longer, which is the 2nd reason. The reason for using this process is two fold.
Once the paint has been applied the paint mask is removed. The centres are then painted in by hand, once on the window in the measured placement. This is specialist vinyl, which is designed to have the lettering cut & then the centres removed. The glass signage letetring was produced before being on site using a paint mask. So the first stage was to remove the vinyl & clean the window ready for fresh glass signage. The clients had been using a temporary generic vinyl sticker in one colour & in a letter style very much over produced in the Tattoo market. The theme of colours was to be kept, but freedom to change the style and design was given trusted that I could produce a nice appeal with a vintage influence. They requested their name on the entrance door glass. Glass signage using contemporary traditional techniques for a repeat client, Leviticus Tattoo in Loughton.
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