“My goal for the next 25 years is to stay focused. I need to learn 100 percent more about lettering, gilding, enameling, carving—and to add new skills all the time. I want to stay focused on people and to the way life changes with every new person you let into it.” —Noel Weber in conversation with Mark Oatis on the 25th anniversary of the Letterhead movement, Sign Business, July 2000

As I walked through downtown Boise to the Classic Design Studio on workshop day, I felt like I was in the right place at the right time. I was sure that I had finally gotten my priorities in order. The sign lessons started before I arrived at the shop door because Noel’s sign projects seemed to be everywhere. I counted at least five signs that have been on Sign Business covers over the years. As I approached the Weber studio, a well-loved spot on the world sign map, I had a feeling that my sign geography was about to be permanently transformed.

It’s easy to assume that the goal of learning old-time sign work is to meld with the traditions of 1882, but what I found was a kinship with the much closer tradition of 1982. That was the year when Noel and Lucy Weber hosted the Boise Barbeque, the first Letterhead meet that was held outside of Colorado. What followed over the years was a series of workshops that focus specifically on gilding and the creation of top rate signs. These events are usually said to be preserving the great craft traditions of sign making, which they are, but they are also significant moments in the culture of sharing and camaraderie that has developed between sign artists around the world. This workshop had a special level of interest for the attendees because we became the first members of the International Society of Glass Gilders, a new organization dedicated to preserving the techniques of glass gilding.

Many people might wonder, “What is the purpose of taking such a specialized workshop, and how does glass gilding fit into today’s sign work? And how can we make money at it?” These are valid considerations, but this workshop in particular seemed to pose even larger questions: Is there any limit at all to what can be done with the skills associated with the gilding arts? And who wouldn’t benefit from a major influx of high-end sign making techniques?

Glass gilding was once nearly routine for a specialized group of sign artists, but now it has flowered into an artistic practice that can inspire and challenge anyone who can adapt it to their own personal vision. The workshop was attended by several skilled artists who weren’t full time sign people but they still fit in well with the creative spirit at the Classic Design Studio. Within our small group there were people representing a diverse array of trades: fine printing, auto body painting, pinstriping, auto airbrush art, hand-blown glass, glass sandblasting, architectural manufacturing, woodworking, mural painting and of course sign work from vinyl to fine gold.

Noel has said that he doesn’t care for the motto, “a sign is only a sign,” because his signs and designs have become his art. At the same time, his sign work does possess a great commercial appeal. This could be because his signs utilize a wide range of traditional crafts in exciting new combinations. Noel’s specialty of reverse glass gilding has a tendency to satisfy many creative needs at once since it is made up of many artistic and commercial traditions that overlap under one umbrella. And yet it is not necessary to pinpoint why we are attracted to this art. As a sign person, I’m content to find my inspiration in what Noel refers to as making “very special signs.” As an artist, I’m gratified to have mentors who take the time teach, practice and play without being concerned with a specific commercial outcome. One important message that was implied in this environment was that if you have the desire, you will bring something to the art that is all your own.

I felt the calling to attend the workshop when I noticed a commemorative panel for the Boise workshop hanging on Larry White’s shop wall. It was crowded in among his multitude of distinguished glass projects. I was surprised that Larry, an accomplished protégé of Rick Glawson, would have much to learn at a gilding class. I had to ask, “You, went to Noel’s gilding workshop?!” He replied, “Sure, I went last year. I picked up some great skills up there even though I’m an old hand at this. You should think about going, you would learn a lot.” (I’d have to take that as charitable encouragement coming from Larry. I figured he would have ordered me to go.)

I’ve also noticed a few Sign Business articles in which seasoned veterans such as Larry Whan and Bill Riedel commented on how much they learned at Noel’s. This jarred me into seeing myself there at some point. I came to understand that the experience would be more significant than simply developing my own personal skills. I sensed that taking the trouble to attend would evolve into something larger than myself. This would no doubt turn out to be an entrée into the wider tradition of artistic signage, and thereby strengthen my feel for the art of handmade signs in general. This was borne out by the quality of the veterans who participated. We had two signmen who were at the original BBQ, Lee Littlewood and Pete Mckearnan, two longtime Conclave devotees Larry White and Tony Segale, and legendary auto art man, Jim Moser, who had attended many of Rick Glawson’s Conclaves, including the first one. All of these individuals and several others who attended possess copious knowledge of the material yet were still finding something valuable to be learned.

So where do beginner/intermediate gilders like myself and others fit in? The answer is, back at the beginning. The workshop took the form of a structured Letterhead meet that started with basic watergilding techniques. The beginning students were mixed in with the established veterans. The room was thick with teachers and easy conversation about the most rudimentary aspects of the processes. This style of group learning strengthened us all and helped to place the tradition of reverse glass gilding on a strong footing for the future. I am hopeful all of the beginners who participated will eventually gain enough skills to become teachers themselves someday.

During the long weekend, which flew by quickly, we worked on at least three projects simultaneously. Every hour or so, Noel or John would demonstrate some of the core skills required to finish a fancy gilded glass sign. I was struck by how much they enjoyed working with the techniques they demonstrated. It was energizing to be around their love for the art. It is indeed precious time that is set aside to paint and gild, and it was really fun. Their teaching style is so mellow, it was easy to forget it was supposed to be challenging, even though I’ve been wrestling with some of the skills for over a decade. As the artistic process flowed from both of them, commercial concerns seemed to take a distant second to the thrill of mastering some very valuable skills. Later there would be time to decide how the finer lessons would play back at my shop. If each step is done correctly, then the artistic and commercial applications will follow when appropriate. I asked Noel, “How does high end gilding work fit into the sign trade in general?” He answered, “It’s the top of the trade. It’s something that not everyone has learned how to do. If you can do this type of work, you set yourself apart, and you should be able to get paid well for doing it.”

Each forward step showed how well we had listened to our teachers, and how much we remembered. Each backward step pointed to our perseverance, humility and the experience we have gained to fix problems. The number of aesthetic and technical choices grew with the new experiences. And in the process there were still more questions about the reasons for why we were doing each step the way we were. This is part of the artistic freedom that this type of work affords. While there was no pressure at all during the event, much of what we accomplished in a sitting would be difficult to reverse if we were unsatisfied, and for a variety of reasons must stand just as it was done. As the projects developed, I learned how steady and patient I must become in order to excel. If there were deviations from perfection, I learned to accept them and improve for the next time. As the gilding artist Roderick Treece would say, “If a project turns out to be a little rough, odd, or antique looking, it just adds character. There is no such thing as a mistake.”

Gold Belt

The class was greatly enhanced by the production skills of John Studden of Valencia Signs and Designs. John took care to demonstrate and manage much of the production silk-screening, which is an important part of all of the projects. I would like to say more about him, and yet working with John reminds me of being around a high-ranking martial artist, perhaps a gold belt. In sign work as in the martial arts, students should not spend much time trying to analyze their mentors, although it is tempting. I first noticed the quality of his work as it was shown in a spectacular article titled Tradition Meets Technology (SB Feb. 1999). In the article, he demonstrated how he made his own gorgeous shop sign with numerous techniques. It was obvious that John, who is from England, had some sort of connection to the ancient legacy of British sign work. Although he did learn glass gilding in the U.S. with Rick Glawson at Esoteric Sign Supply, he seems to have blended a few traditions and maintains a very serious dedication to them all. His mixture of skills has also lent itself well to designing lettering styles that derive from traditional sources. He has developed several fonts that can be viewed at www.letterheadfonts.com.

Noel and John worked side-by-side on all of the projects with us. The class started with a demonstration of how to simply lay gold onto glass, and worked its way through to the many special techniques that included, how to burnish matte gold, and how to blend mixed karat gold shades during water-gilding among many others. One important thing I realized was that we were being shown the fundamental professional techniques and we must methodically touch on each one of them before proceeding to the more difficult ones if they are to attain commercial value. When done correctly, there is a market for gold treatments of all types because the end product tends to speak for itself. And the sum total is quite irresistible when completed with care.

The art of reverse painting on glass was also a prominent part of the seminar. We learned about the Liberon craft metallic paint and how to blend backgrounds and many other ways to handle the fine paint and silk screen details of the project panels. Noel’s glass designs are characterized by some of the finest detail work ever seen in the craft. He delights in minute double and triple outlines of very fine delicacy that can only be accomplished by silk screening the art. There was some discussion over whether such challenging projects should be the focal point of a beginning or intermediate level class. The conclusion was that such designs raised the bar for everyone. Noel wanted us to experience some intricate details right away so we would never be tempted to shy away from them.

The process of learning reverse glass gilding touches on numerous aspects of high-standard craft work, and many revelations can be contained in a single project. They can range from the need for cleanliness, to the importance of design or the need to know both mechanical techniques and handcraft skills. It will take many years to further develop and utilize what we were shown in a weekend. However, I am sure the net result will appear in my work immediately even if it has nothing to do with gold. It was a great experience to work alongside professionals who have made “very special signs” for most of their lives. The workshop imparted more than an assortment of individual techniques. It also provided a sense of the attitude and the nobility of spirit that is required to accomplish such inspired and masterful work.

INTRODUCTION TO THE INTERNATIONAL SOCIETY OF GLASS GUILDERS

The International Society of Glass Gilders (ISGG) was founded in 2008 by Noel Weber and John Studden. The goal is that their manyyears of experience can be shared in a formal setting and that their knowledge may be passed on to future generations. They aspire to create a unique society in the spirit of the Letterhead movement that will enable the craft to continue. The new group is indebted to member No. 1, the late Rick Glawson who was a friend and mentor to everyone who attempted to gild on glass. His passion for the craft and his drive to teach others are the guiding principles of the group.

The ISGG is closely tied to the gilding workshops that are expected to be held at least twice per year in Boise. It is necessary to attend the workshop to become a member. At the initial meeting, students received an official member number that was etched on the bottom of a commemorative gold size glass that they chose at random. The only prerequisite for students is that they have a passion to learn. The founders are dedicated to the process of preserving past techniques and learning new ones in order to strengthen the culture of glass gilding. Not everyone will be prepared to receive all of the information at the same time, so the demonstrations are geared to each student’s level. Veteran gilders and past graduates of the class are encouraged to attend and share their knowledge as well. They are eligible for a substantial discount when they do so.

Noel Weber began teaching workshops 25 years ago in his home studio and has been inspired to further the process ever since. The addition of John Studden to the workshop diversifies the curriculum, and increases the one-to-one time that each student receives. Noel has been committed to the concept of the “Letterhead University” since he hosted Boise & Beyond in 2000, which had nearly 20 seminars. He introduced the notion that a very broad roster of teachers will add another dimension to everyone’s signwork. The latest workshop is still a family affair in many ways, but it is now held comfortably in the stimulating environment of Noel’s Classic Sign Studio. It is important for the sign community and other artists to take advantage of the vital energy and passion for teaching as it becomes available. The next meeting will occur on Oct. 24th, 25th and 26th in Boise, Idaho. Future students are welcome to attend and claim their membership numbers. Please inquire into the availability of this and other future meets by e-mailing noel@classicdesignstudios.com or john@johnstudden.com.