A Guide to Decorative Arts

Introduction To Decorative Arts

What Is Silk Painting?

What Do I Need to Get Started with Silk Painting?

What Is Textile Painting?

What Do I Need to Get Started with Textile Painting?

What Is Ceramic Painting?

What Do I Need to Get Started with Ceramic Painting?

What Is Gilding?

What Do I Need to Get Started with Gilding?

Can I Paint in Acrylic or Oil on Top of Gold Leaf?

What Other Forms of Gold Can I Apply to My Surface?

Restoration Of Woodwork

Frequently Asked Questions

Further Reading

Glossary

Decorative art is a broad term that describes works of craft or art that are concerned with the design or decoration of objects that are also functional. 

Decorative art can include textile painting, ceramic art, metalwork, jewellery, glass painting, furniture, and enamel work, amongst others. The separation of the term ‘decorative arts’ from painting and sculpture is considered a modern distinction.

Restoration and conservation focus on protecting and restoring both fine art, such as paintings, and decorative art, such as bas-reliefs, mosaics, icons, and heavy wooden panels, as well as frames, antiques, and architecture.

Silk painting is both a popular art form as well as a popular applied craft. The tradition of silk painting predates painting on paper in China and across East Asia. Silk painting involves stretching silk onto a frame and then applying dyes or paint with a paintbrush, dropper, mist sprayer, or other tools.

If left to its own devices, silk paint will produce a soft and diffused watercolour effect on the silk. With the use of a water-based resist medium known as gutta, outlines can be created to control the colour flow. Transparent gutta can be washed away and coloured. Pearlescent guttas are available that remain as an outline after the painting is finished.

Colour on fabric that is intended to be washed needs to be 'fixed' to be made permanent. This is usually done by ironing or steaming after the paint is dry.

• Silk
• A frame to stretch the silk
• Silk paints
• Resist (Gutta)
• Brushes or tools for application of the paint and resist

Silk is relatively absorbent and silk paint will sink into the fabric – it will not impair its flexibility or movement. Silk such as Pongee 5, Habotai 8, and Twill 10 can be bought by the metre, as well as in the pre-made form of cushion covers and silk scarves, ready for painting. 

Silk is most easily painted on when stretched on a frame. This keeps the silk flat and provides a springiness akin to a canvas stretched on a frame.

Silk paint such as Pebeo Setasilk are water-based, fluid, vivid, and intense. Silk paint can be used on all types of silk: twill, pongee, crêpe de chine, georgette, and damask. It is very easy to use and can be fixed simply by ironing. 

Silk paint can be used for all silk painting techniques, such as outlining, salt dusting, watercolour on dry or damp silk, crackling wax or drawing wax batik, and mahaju. Silk paints keep the silk's flexibility and offer a rich, refined, and very bright palette. 

Gutta is a thicker consistency liquid which prevents silk paint from bleeding. The gutta forms a barrier on the silk so that you can control where your paint spreads to. 

Water-based guttas have a thick consistency. They are ideal for drawing outlines directly from the nozzle on the tube. These guttas penetrate perfectly through the fibres of the fabric, thus creating a barrier to the Setasilk colours which are applied afterwards. Once they are set with an iron, they are wash-resistant. Gutta is available in tubes or bottles with fine nozzle tips.

Soft squirrel hair brushes with a high fluid retention capacity are ideal for painting on silk. Synthetic sable hair brushes are also good as they are soft and durable. Jackson's Squirrel Mops and Goat Hake brushes are great for silk painting.

For backgrounds and washes, foam brushes are the most practical. They can be used for a range of arts and craft applications. Foam brushes are useful for broad, even strokes and for giving a smooth, flat finish.

Textile painting materials can be used for both fine art and craft applications. Textile paints are washable and can be used for painting on t-shirts, scarves or ties, as well as decorating cushion covers.

Textile paints can be used on most fabrics. Check on each product if you are unsure as to whether the fabric paint you are interested in is suitable for your idea. There are lots of textile painting techniques, and the paint can be applied in a number of ways. For example, it can be diluted to create subtle hues, or you can spray fabric paint to create interesting effects.

• Fabric
• Textile colour – paint, markers, etc.
• Cardboard or absorbent paper to place underneath the fabric whilst painting
• Brushes and tools for the application of paint

Before working on any fabric with textile paint, it is best to start with paint and wash tests. This is very important with synthetic fibres as they have different properties. If the fabric contains starch, it should be washed before painting.

Textile paint is ideal for painting on cloth made of natural fibres, such as cotton or linen. Excellent results can also be achieved with synthetic fabrics. To stop your painted fabric sticking to the support, use cardboard or absorbent paper underneath. Remove it after painting so that it will not stick to the fabric. 

Adding a medium to the colours reduces their viscosity and makes them more transparent. Layering colours is not recommended. This can overload the fabric, which may interfere with the colours properly bonding to the fabric.

Colours can be applied with a brush, sponge, roller, or spatula. Their creamy consistency makes them great for use with stencils, silkscreens, and monoprint techniques.

Brushes and other tools are cleaned with water and soap. Dried paint can be removed with alcohol. Stains of textile colour are difficult to remove if not washed immediately before drying.

With Colourist Heat Transfer Paints, you can paint onto paper and then when your painting is dry, using an iron, you can transfer it to fabric or other surfaces. The transfer paints allow you to create multi-coloured designs without specialist equipment. 

Using just a domestic iron, you can print onto fabric, bags, t-shirts, coasters, placemats, bunting, and much more. You can use different painting techniques such as stamping, cut-outs, and stencilling.

Marabu Textil is an all-purpose, water-based fabric paint and printing ink for light coloured fabrics. Marabu Textil is washing machine-resistant up to 60°C; fluorescent shades up to 40°C. The colours offer good fade-resistance. They can be intermixed and diluted with water. The opacity of Marabu Textil is very good on light coloured fabrics. For dark materials, Marabu Textil Plus is recommended. 

Apart from knitted garments, Marabu Textil is suitable for all non-finished fabrics such as cotton, linen, jute, silk, and blended woven fabrics up to max. 20% synthetic content. Marabu Textil is easy to apply and has a soft feel.

Opaque, water-based fabric paint. Excellent for dark but also for light coloured, non-finished fabrics, such as cotton, linen, silk, jute, and blended woven fabrics up to max. 20% synthetic content. Ideal for painting and stencilling. 

When fixed, Textil Plus is washing machine-resistant up to 40 °C. All the colours can be intermixed. For stiffer and heavier materials, it is recommended to apply a thicker layer of paint.

Textile marker pens are designed to be drawn on to fabric. They can then be iron-set and then drawn lines are washable.

To achieve the best results, use cloth made of natural fibres such as cotton or linen. Excellent results can also be achieved on synthetic fabrics. However, due to the different properties of synthetic fibres, it is best to start with paint and wash tests. If the fabric contains starch, it should be washed before painting.

Ceramic is a term that describes any object made of natural clay. The composition of the clays used, additives, firing temperature, and duration determines the type of ceramic. Ceramic, porcelain, fine china, terracotta, earthenware, and pottery are examples of types of clay objects. Each has its own unique characteristics.

Ceramic painting is the decoration of ceramic objects, such as pottery and figurines. Ceramic paints dry with a high gloss finish that matches the glazed surface of the ceramic it is designed to be used upon. Ceramic paints are washable once fully dried and set. They tend to be semi-translucent.

• Ceramic surface
• Ceramic paints
• Brushes and tools for the application of paint

Ceramic paints such as Pebeo Ceramic Paint will enable you to create decorative effects on terracotta, ceramics, and pottery. They can be used on terracotta and earthenware. 

To maximise the brightness on porous surfaces, it is recommended to apply a filler undercoat. On rounded surfaces, be careful not to overload to avoid runs. Pebeo Ceramic Paint can be thinned with odourless mineral spirit or white spirit.

Ceramic colours can be applied with a brush, sponge, screen, or bath. A sufficiently thick layer of colour can be combined with other materials like sand or engraved with a stick. Objects decorated with ceramic colours are for decorative use only. 

How Easy Is It to Clean Up?
Always clean brushes thoroughly with white spirit or odourless mineral spirit, then rinse with soapy water.

Porcelain is a type of ceramic. It is made with a mix of clay, kaolin, feldspar, silica, and quartz, though other materials may be added. Porcelain painting is very similar to ceramic painting, but the main difference is that porcelain is translucent and allows light to show through it. The surface is very smooth and ideal for fine detail.

• Porcelain surface
• Porcelain paints
• Thinner
• Brushes and tools for the application of colour

Pebeo Porcelaine Paints are easy to use and do not require the use of a kiln as they can be baked in a domestic oven. The paints are deep and glossy, and can be used transparent or opaque. They have excellent lightfastness. 

Marabu Porcelain Paints are water-based, odourless and lightfast and do not require the use of an oven to fix them. The paints are fixed when dry.

Glass Painting is the art or craft of decorating glass or clear acrylic with paint. Transparent colours can be used to decorate glass and make it look like stained glass windows. Patterns or images can be painted easily using gloss glass paint. There are both water-based and oil-based glass paints available. 

A glass painting kit is a great way to get started with glass painting. You can also get started with the following materials:

• Acrylic glass sheet
• Lead strips (to replicate the look of stained glass)
• Glass paints
• Odourless mineral spirit or white spirit

Pebeo Vitrail Glass Paints are transparent and luminous. They can be mixed and used on surfaces such as glass, polyester, and acetate. They are solvent-based, which means they can be thinned with odourless mineral spirit or white spirit.

Pebeo’s Vitrail Cernes Relief Outliners allow you to imitate the look of stained glass. They can be applied directly from the tube using the nozzle.

Marabu Porcelain & Glass Paint is for painting on china, ceramics, porcelain, glass, and acrylic glass. These water-based colours are available in a matt or gloss finish. They are dishwasher-safe once fully dry.

Marabu Porcelain & Glas Painter Pens can also be used without the need to fix in an oven. They are water-based, odourless, and lightfast. These pens are available in different nib sizes. They can be used on porcelain, glass, metal, mirrors, ceramic, terracotta, and stone.

The universal Marabu Cleaner and Thinner is ideal for cleaning glass, porcelain, and metal. The surface is kept grease and dust-free.

Gilding is the art of applying gold or metal leaf onto a surface. It is not gold paint, but a tissue-thin layer of real gold.

Gilding was used in the background of many sacred paintings, especially during the Italian Renaissance. Today, gilding is used to decorate frame mouldings and furniture, as well as in fine art.

• Bole (ground) or genuine gesso
• Gilder’s tip (squirrel hair flat brush)
• Gold size
• Gold leaf (transfer or loose leaf)
• Gilder’s knife
• Gilder’s cushion
• Soft haired mop brush such as squirrel
• Shellac or varnish to seal the surface

Useful Tools:

• Burnishing tool such as an agate burnisher

Gold leaf is applied over a special ground known as Bole. This ground is similar to gesso, although softer. It is made of coloured pigment, animal skin glue, and china clay or kaolin. The inclusion of the china clay or kaolin in the mix helps to create the burnished effect when the gold leaf is burnished. 

The bole is normally an earth colour, such as Yellow Ochre, Raw Sienna, or a colour known as Soft Red Earth (red bole). The warm colour gives warmth to the gold, although cool colours can also be used to give a ‘cooler’ effect. The ground is applied in thin layers.

Made from a thin row of pure squirrel hair, gilder's tips are for picking up and applying ‘loose’ gold leaf.

Gold size is the adhesive used to fix the leaf to the surface. Depending on the object you want to gild, it is available as water-based or oil-based size. Water-based size is used for gilding indoors, never outdoors. It is only ideal for working on large surfaces, such as walls or ceilings. 

Oil-based size has various drying times and open times. It is suitable for smaller projects and higher quality work. Water size is a method that uses gelatin to adhere the leaf. It is often used for gilding glass signage from the back.

Gold leaf is sold in booklets of 25 leaves, interleaved with greaseproof paper. ‘Loose’ gold leaf sits loosely within the booklet and will disintegrate if touched with a finger. For this reason it is usually lifted using a gilder's tip.

‘Transfer’ gold leaf is basically the same as loose leaf, except that each leaf has been pressed onto a lightly waxed sheet of tissue paper. This means the leaf is easier to handle and can be picked up without touching the metal. It is usually used for flatter surfaces and outdoor gilding. 

Transfer leaf is pressed face down onto the sized surface and rubbed from behind so that the gold is released onto the surface. Loose gold leaf is more difficult to work with because a slight breeze or breath will make it float away and fold up onto itself, and it cannot be made flat again. But, with skill, it is what is needed to apply leaf to surfaces that are not flat, such as a carved frame moulding, where transfer leaves cannot be pressed into the valleys.

A gilding knife is made of stainless steel and has one blunt and one sharp edge. The knife is shaped specifically for cutting loose gold leaf on a gilder’s cushion.

A gilding cushion is covered in leather that has been stretched over a wooden base. It is packed tightly so that the surface is firm but gentle, against which the gold can be cut with a knife. Used with loose gold leaf, the cushion usually has a wind shield that folds away.

A domed mop brush made of very soft natural hair (such as squirrel) is traditionally used for applying French polish and by gilders for various applications. This brush can also be used instead of a gilder’s tip to remove loose gold leaf from the booklet. It is also useful for tamping loose leaf into detailed mouldings or crevices.

Most gilded surfaces and objects need to be sealed for protection. Genuine gold leaf of 22 carats and above doesn’t need sealing, but anything lower than 22 carats can oxidise, which is why sealing is recommended. Shellac or any permanent solvent-based varnish will seal the leaf.

Agate burnishers are made from highly polished, smooth agate stone. The burnishers can be used to burnish the leaf to a brilliant finish, once the applied leaf has dried.

A painting in transparent acrylics or oils on top of a panel covered in gold leaf, or another metal leaf, can glow with a shining light. The procedure for painting on top of gold leaf, silver leaf or copper leaf – genuine or imitation metal leaf – is not as complicated as you might think. 

After you have applied your gilding and let it cure, you then apply one or two types of sealer, and you are ready to paint.

1. Be aware that metal leaf is so thin that any texture underneath will show through. You may wish to prepare the surface of your support to be as smooth as possible. Apply your metal leaf to your support following the directions on your bottle of acrylic gold size or oil-based gold size (the adhesive). 

You may wish to use the transfer gold or silver leaf, as opposed to the loose metal leaf. This is because it is much easier to work with, and you don’t need the loose leaf unless you are working on a surface with grooves or carving that you need to push it down into. Gently brush the excess off with a soft brush. Rub the gold down firmly through a piece of paper or cloth. Then, let it dry thoroughly, usually about three days or the curing time listed on the bottle of gold size, before sealing it in the next step. It needs to have air reach it to finish the curing process and become hard and stable.

2. Spray or brush on Golden MSA (Mineral Spirit Acrylic) Gloss Archival Varnish to seal and prime the metal leaf surface. You should seal all metal leaf because it is thin, delicate, and can be scratched. Some metal leaf will also tarnish if you don’t seal it. 

You need to choose a product to seal the tarnish-able leaf, that will not in itself cause tarnishing. After speaking with a technical expert and testing it ourselves, we determined that the Golden MSA varnish is the correct choice for sealing metal leaf without damaging it. Using a gloss varnish allows you to retain the shine of the metal. Three coats of spray varnish or one thin coat of MSA Varnish brushed on should be enough to protect the surface from tarnishing. Read the label for the dilution instructions of the brush-on varnish.

There are two ways that the metal leaf can tarnish. Sealing with the MSA varnish prevents both kinds.

If left unsealed, some metals will tarnish over time from exposure to air, while some will not.

-  Genuine silver leaf will tarnish.

-  Imitation silver (aluminium) won’t tarnish (sometimes it will slowly tarnish if it is not pure aluminium).

-  Genuine gold of 22ct or more will not tarnish.

-  Genuine gold of less than 22ct (gold plus copper – or sometimes silver or another metal) will tarnish.

-  Imitation gold (copper and zinc) will tarnish.

-  Genuine copper and imitation copper (copper and zinc) will tarnish.

Acrylic paint and mediums contain ammonia which will tarnish any leaf containing copper. Sealing the metal with the solvent-based varnish before applying acrylics solves this problem. If you are using acrylics with one of the metals that does not tarnish (genuine gold 22-24ct and genuine or imitation silver), you can skip the varnish sealer and use the acrylic medium coat in the next step instead.

3. If you are painting over the metal leaf with oil paint, you should next apply a coat of GAC 200 or another clear gloss fluid acrylic medium. This will seal the MSA varnish from any future solvent applications.

4. You are now ready to paint. Lots of artists like the look of bits of shiny metal peeking out of the paint. Remember that transparent colours will allow some of the metal leaf to shine through the colour, especially if painted on thinly or in a glaze). Opaque colours will completely cover over it, and metallic paints will be less shiny than the metal leaf.

5. If you plan on a final varnish, a gloss varnish will keep the metallic shine the best. You can use the same MSA that you primed with. It works on top of oil or acrylic.

Summary of Sealing the Metal Leaf:

-  All metal leaf should be sealed before beginning your painting.

-  If painting in acrylic on a leaf with no copper in it (genuine gold 22-24ct, genuine or imitation silver), you can seal it with a hard clear acrylic polymer medium in gloss.

-  If painting in acrylic on a leaf which contains copper (imitation gold, genuine or imitation copper, genuine gold of less than 22ct), you need to seal with MSA varnish before painting.

-  If painting on top with oils, you need both steps. The MSA varnish seals the leaf and the polymer medium seals the varnish from solvents.

Oil paint takes six months or more to completely dry, so applying metal leaf on top of oil paint is not advised. This is because the adhesive (gold size) will prevent the oil from curing and making a stable structure. It should be fine to add it on top of a very well-dried painting – dry enough that you would varnish it (this could be a year or more if it’s thick paint). Be sure to use an oil-based size and test a bit to make sure it adheres. You will need to seal the leaf each time you apply a new layer.

Adding more metal leaf on top of acrylic paint is fine, but be aware that acrylic needs a few days to cure and let all the volatile gas off, so don’t add size on top right away. Be sure to use an acrylic-based size and test a bit to make sure it adheres. You will need to seal the leaf each time you apply a new layer.

Gilt cream can be used to retouch damaged gilding or to gild new surfaces. Porous surfaces, such as wood and plaster, need to be sealed before the gilt cream is applied. It can be applied with a cotton cloth or a small brush for intricate areas.

Metallic Paints

Roberson Liquid Metals have a rich deep colour and are ideal for a range of applications and surfaces. All colours are intermixable and can be used on surfaces such as plaster, wood, paper, and canvas. The paint gives the appearance of metal but will not tarnish. It does not need to be varnished.

Goldfinger is a unique product from Daler-Rowney. It is an all-purpose, rub-on metallic paste available in five finishes. It can be used to restore antiques, gild picture frames, or for stencilling, plaster, clay or wood decoration. It can also be used on mouldings for imitation ormolu furniture, textiles, leather, plastics, model making, greeting cards, and much more.

Applying wax will nourish and protect wood. It does so by enhancing its natural beauty and protecting it from dryness. It is traditionally used on antiques, but it can also be used on modern furniture.

Turner Wood Primer can be used on wood to allow the paint to adhere strongly to the surface. It is designed for use with Turner Acryl Gouache.

Decorative Arts: Popular Questions from Artists

Painting in Acrylic or Oil on Top of Gold Leaf

Metallic Effects for Oil Painting With Schmincke Oil Bronze Powders

Gold Gilding Process with Tuesday Riddell

Inspired by Gold: How Alison Woolley Uses Traditional Water Gilding Techniques In Her Work

The Use of Silver in Art

The Radiant History of Gold in Art

A

Agate Burnisher
A tool with a polished agate stone tip. Used to burnish gold or metal leaf to a brilliant shine after application.

B

Bole
A coloured ground layer made of clay, pigment, and glue. Used beneath gold leaf to influence its tone and help with burnishing.

C

Ceramic Paint
A glossy paint used on ceramics such as pottery and terracotta. It is often solvent-based and should be cleaned with mineral spirits.

D

Decorative Arts
A broad category of arts focused on the design and decoration of functional objects. This can include textiles, ceramics, glass, and more.

E

Embossing
A technique for raising a design on a surface. Often done on metal foil or paper using styluses and other tools.

G

Gesso
A preparatory ground made of chalk or gypsum and glue. Used to prepare surfaces like wood or canvas for gilding or painting.

Gilder's Cushion
A padded, leather-covered surface. Used for cutting and handling loose gold leaf.

Gilder's Knife
A specially shaped knife for cutting gold leaf on a gilder’s cushion.

Gilder's Tip
A flat brush made of soft squirrel hair. Used to lift and apply delicate loose gold leaf.

Gilding
The application of thin sheets of gold or other metal leaf to a surface for decorative purposes.

Gilt Cream
A wax-like substance. Used to restore or apply gold finishes to surfaces like wood, metal, or plaster.

Glass Painting
The art of painting onto glass or acrylic with water-based or solvent-based transparent colours.

Glazing Resin
A resin that creates a domed, glossy finish over flat surfaces. Often used in decorative and mixed media art.

Gold Leaf
A thin sheet of gold used for gilding. Available in loose or transfer form. Loose leaf is more fragile but useful for irregular surfaces.

Gold Size
The adhesive used to affix gold leaf to a surface. Can be oil or water-based depending on the project.

Gutta
A resist used in silk painting to control the flow of paint and create outlines. It is available in both coloured and transparent types.

L

Liming Wax
A white wax used to accentuate the grain in hardwoods. Gives a limed or whitewashed appearance.

M

Metal Foil
Thin sheets of copper or aluminium. Used for embossing or engraving in decorative metalwork.

Metallic Paint
Paints made with metallic pigments. Used to achieve gold, silver, copper, or other metal-like finishes.

P

Porcelain Paint
Paint designed for porcelain surfaces. Can be air-dried or heat-set depending on the brand.

R

Relief Outliner
A thick paint used to create raised outlines in glass painting. Helps to mimic the look of stained glass.

Resist
A medium used to prevent dye or paint from adhering to certain areas of fabric or paper, such as gutta in silk painting.

Restoration
The process of repairing or reviving a damaged or deteriorated artwork or object to its original condition.

S

Shellac
A natural resin. Used as a sealant over gold leaf to protect the finish and prevent tarnishing.

Silk Painting
The process of applying dye or paint to silk that is stretched on a frame. Often uses gutta to define areas.

T

Textile Paint
Washable paint for use on fabric, typically fixed by ironing. Used in fine art, clothing decoration, and crafts.

Transfer Gold Leaf
Gold leaf that is pressed onto a waxed sheet for easier handling. Suitable for flat or smooth surfaces.

V

Varnish
A protective finish. Can add gloss or matt effects to surfaces including wood, resin, and metal leaf.

Vitrail
A solvent-based transparent glass paint that mimics the look of stained glass.

W

Wax (for Wood)
Used to nourish and protect wood. Often used in restoration or for decorative finishes.

Wood Dye
A water-based stain used to tint wood while allowing the grain to show through.

Wood Primer
A preparatory coating. Improves the adhesion of paint to wood surfaces.