About
Paintings in Medieval Manuscripts are heavily illuminated, as artists and patrons sought to show their devotion to God with gold reflecting light onto the page.
Raised gilding, using manuscript gesso, is one of the most commonly used techiques for applying gold leaf in these manuscripts. This technique gives the most shine, and the relief enables the gold to catch light coming from every direction.
In this course, you will work with genuine gold leaf, and learn a recipe for making gesso. Then build your confidence with raised guilding by designing a smaller test piece, followed by a second larger motif. Finish your piece, by decorating the background with watercolour or gouache.
The choice of the motif is up to the participant, examples of geometric shapes or ornate initial letters will be provided.
Key Information
Who is this course for?
All levels of ability and experience are welcome. You must be aged 18 or over to participate in our programmes.
What days do I attend?
Monday – Friday, 10 – 14 February 2025
How many students can attend?
14 people
Where will this course take place?
This course will take place at our studios at The King’s Foundation School of Traditional Arts, 19-22 Charlotte Road, London EC2A 3SG.
What should I bring to class?
- Pens and notebook to take notes
- Brushes for manuscript gesso:
(please don’t bring expensive sable brushes for applying gesso, it will only damage them)- 1 x size 0 or 1 pointed round synthetic watercolour brush
- 1 x size 00 or 000 pointed round synthetic watercolour brush
- 1 x size 0 or 1 pointed round synthetic watercolour brush
- 1 x size 00 or 000 pointed round synthetic watercolour brush
- Brushes for painting:
- 1 x size 0 (or 1) watercolour sable round and pointy brush (similar shape and size to Winsor & Newton series 7)
- 1x larger brush : sable (size 2, similar to Winsor & Newton series 7) or squirrel pointed (size 6 or higher) for backgrounds and larger areas.
- Optional : 1 x size 000 watercolour sable round and pointy brush, for details (similar shape and size to Winsor & Newton series 7)
- Gold:
- 1 x 5 leaf book of transfer gold (easier to handle), or x1 5 leaf book of loose gold if the student wishes to learn how to manipulate loose leaf. Alternatively a book (5 leaf) of each (transfer and loose) to be able to try both (*in that case, take the same colour of gold for both books).
*Colour (carats) : any shade of real gold leaf will work, NOT imitation gold (it will not stick with this technique). - Any watercolour or gouache, a minimum of two colours
- A paint palette with wells
- 1 x 5 leaf book of transfer gold (easier to handle), or x1 5 leaf book of loose gold if the student wishes to learn how to manipulate loose leaf. Alternatively a book (5 leaf) of each (transfer and loose) to be able to try both (*in that case, take the same colour of gold for both books).
- Optional:
- for handling loose gold, x1 small Squirrel brush around size 4
- Mechanical pencil: HB or B
Wear comfortable clothing that you do not mind getting slightly messy. Avoid wearing baggy clothing (especially sleeves), loose jewellery, high heels or open-toed shoes.
FAQs
Do you offer concessions?
Yes, we offer concessions for full-time students and Seniors/60+.
Concessions cannot be applied in retrospect. To receive a concession, please apply via our online form. We will then send you a discount code to use when booking your space.
Terms & Conditions
The School reserves the right to discontinue or suspend a Course up to fourteen (14) calendar days before the advertised start date of the Course. This course requires a minimum number of enrollments to run.
The School may take and use images of you and/or your work for course advertisement and social media purposes.
Our normal terms and conditions apply.
Tutor Biography
Lucie Rose Galvani has been drawing and painting from a young age. In 2016 she found in the King’s Foundation School of Traditional Arts a place to discover and explore traditional techniques and philosophy. There she specialized in gilding and painting with pigments on paper and discovered the practice of geometry. Since graduating from the MA programme at the School of Traditional Arts, she developed a geometric study of rose windows from Gothic architecture and carried on painting and gilding.
