Concerts Grand and Semi-Grand pedal harps can be made in a collective variety of custom styles, exotic forests and many applied scenery, top, quintessence of accomplishments that are giants that are often very richly carved with floral and scrollable ornaments and gold plated gold, In this The article describes in detail the materials and processes associated with the finishing of these exquisite tools. Each harp consists of ten gracefully carved main components, usually of maple wood (American hardwood). Eight of the components, the crown, columns, base, baseboard and two sets of legs are completely gilded. The highly refined, traditional methods of gold gilding with agate, burning on the leaves of yellow gold weighing 23 carats with a double weight, provide impeccable quality, a “mirror coating” for these components. The rest of the components, the soundboard made of spruce Sitka and central stripes, of beech wood, which make up the body structure, are partly gilded to complement the beautiful veneers. The traditional artist who makes finely worked gold harps includes the talents of talented harp masters, as well as gulians, finishers and service technicians. Regarding this tradition, the modern harp maker is engaged in the timely production of finely processed instruments to meet the needs of its customers. As a result, the gilding process must be streamlined in such a way as to conform to the modern manufacturing process, while maintaining an excellent level of quality. To this end, special attention is paid to the refinement and choice of materials for gilding.
PREPARATION OF HESSO (spraying)
To make a gilded tool of this size (the column is the main component), the gulder must accurately measure and mix the putagsky powder (calcium carbonate) with the granulated, RSG (glue for rabbits), which was previously allowed to be absorbed with distilled water before use, in the measured container until will reach a certain gelatinous consistency. This, in turn, is mixed together with an empty powder to make Gosso cooked in a double boiler. Although there are many gesso recipes, not all of them are suitable for achieving outstanding burns on a gilded surface. We have adapted a formula that works well in a high-performance low-pressure spraying system that has proven consistently successful in a controlled environment. When a large project is required during the gilding process, such as a concert grand harp, several batches of a previously prepared, accurately measured RSG are required to complete the gesso application immediately on the same day so as not to slow down the production process. It is important to maintain a constant warm temperature in the working area before and after applying a sufficient amount of gesso to ensure proper penetration. Freshly divided parts are transferred to a heated, skin-divided “hot box” to ensure proper drying and normal shrinkage, which is a necessary part of the gluing process. This method provides a uniform ambient temperature, and also anticipates the formation of air pockets due to "cold spots", which are the result of uncoordinated temperature fluctuations.
BOLA PREPARATION (Continued)
When applied Hesso thoroughly dried to a snow-white powdery consistency, it is then finely polished to a smooth smoothness. At this point, it's time to cook the bare clay. To maintain production standards, only premix material is chosen (preferably Selhamin brand, distributed by Sepp Leaf products). Piedmont red is used as a base in combination with blue amalfi applied to jewelry, gives the best results. Raw clay should be mixed with the appropriate proportions of dissolved gelatin glue in a double boiler (as well as in the preparation of Hess), in order to heat the mixture to a thick semi-liquid consistency. Small amounts of distilled water are added to the bean mixture to facilitate the conclusion of contracts. The preparation of bare clays is very important in order to filter out any small pieces or particles that would otherwise contaminate the material. The reason why the RSG is not used in the preparation of pain is that we have found that it can sometimes give reliably cloudy and somewhat piercing cloudy. From 5 to 7 layers of the body are applied over the entire area of gesus. The last layer is smoothed by hand, using a series of medium to thin scotch to remove all minor irregularities, and then finally polished to satin gloss with folded horsehair. Before gilding, as final preparation and to ensure proper adhesion of subsequent layers of gold leaf, we found it useful to carefully paint a previously polished layer with a glaze consisting of a mixture of diluted gelatin glue.
APPLICATION OF GOLD LAYERS
Denatured alcohol, mixed with distilled water, is used to prepare the "larvae". This solution helps to activate the mixture of glue in the sole, which is necessary in order to make the layers of gold leaf contact the surface on which it is applied. In addition, it is important that the layers of the applied layer are somewhat moist before polishing in order to achieve perfect burning, which is required in the gilded harp industry. Under normal conditions, a freshly welded gold-plated surface will hold the necessary moisture under the layers of the attached hole for approx. one and half hours, up to one hour and forty five minutes, which is the optimal time for burning, depending on the temperature and humidity of the surrounding air.
We have found that the “double gilding” method gives the most flawless results and optimum brilliance, especially on concave and / or convex surfaces, reinforced by the areas around the decorative thread. The process includes the “base” of this carat sheet over the entire surface of a previously prepared polished hole. The metal sheet soil is allowed to dry and then gilded again to cover any defects in gold until the entire surface is pristine, without any areas of the exposed hole. As soon as the gilded area begins to acquire some luster, the surface may be slightly tested on a small area with an agate stone. The burn should develop immediately with minimal effort. Gilder uses the thumb pointer and pointers only to guide the torch along the surface, a small section at a time, usually working with the edges inward. The sound card (the part of the harp's body that fits narrow at the top and goes to the bottom) on the usual ordered instrument is usually always carefully decorated. A harpist can choose 24-carat gold decals in floral motifs or choose the option of an individual painted scene of his own design, made by personal masters, painted in brilliant translucent colors against a gold leaf background.
As soon as the laborious process of applying layers of gesso, bole and subsequent metal sheet is applied and burned, he can enjoy the magnificent reward of his “labor of love”, sparkling in a mirror shine and rising more than 6 feet from the floor to the top of the crown !. Gold-plated tools are always provided with a protective layer of “crystal clear” automotive varnish for high-quality metal in order to protect the gold-plated surface from fingerprints and wear from processing. All previously treated gold-plated components are masked before final assembly. Specialized technicians, called regulators, are responsible for assembling the completed gilded parts that make up a grand or semi-rigid harp. Seven pedals are associated with a complex series of couplings and rods contained in the base and column. The pedals drive a complex mechanism called an “action” that mounts and executes the entire length of the cervical knot, which in turn allows the harper to soften the change of the octave range of the strings. After the gold-plated harp is assembled and adjusted, it is packed in a specially made gasket for delivery to the owner. The golden pedal harp is a joint artistry. It is a joy to be part of this tradition in which so many artisans work together to create such a beautiful instrument that will inspire musicians for generations.
