Using Gilding Wax on the Edges
Have you ever removed the masking tape from a painting, expecting a lovely clean border, only to discover that the paint has seeped underneath?
That is exactly what happened with this painting. The painting itself felt finished, but the untidy white edge bothered me. Once I placed it inside a passepartout, or mat, the remaining white paper became even more noticeable. It distracted from the painting rather than completing it.
So instead of trying to hide the problem, I decided to make it part of the painting.
And I turned the edge gold.
Turning a mistake into a finishing detail
I used Lefranc Bourgeois Gilding Wax, also called Cire à Dorer. I carefully applied a small amount around the edge, gradually covering the remaining white paper.
The transformation was simple, but it made such a difference. The gold picked up the warmer colours inside the painting and made the border feel intentional, almost like a delicate frame around the artwork.
What began as a way to rescue an untidy edge became one of my favourite details and I now use it more often!
Choosing a gilding-wax colour
Gilding wax is available in several beautiful metallic finishes, including Rich Gold, Copper and Silver.
The colour you choose can completely change the feeling of the finished painting:
Gold adds warmth and richness.
Copper works beautifully with earthy reds and oranges.
Silver can complement cooler blues, greys and greens.
If you are unsure, test a little on a separate piece of paper first and place it beside your painting. Often, one colour will immediately feel right.
A closer look at the process
In this short video, you can see how I applied the wax and gradually transformed the white border.
Always make sure your painting is completely dry before beginning. Apply the wax slowly, I use my fingers (as with painting!) but I imagine you can also do this with a soft brush.
Sometimes the solution becomes the best part
Painting does not always go exactly as planned, and that is often where the most interesting discoveries begin.
Instead of seeing an imperfect edge as a failure, it became an opportunity to add something unexpected. The gold did more than cover the white paper; it gave the entire painting a more complete and special finish.
These small experiments are an important part of my own painting process. Inside The Texture Lab, I share many more ways to explore texture, layers, colour and unusual materials, and to respond creatively when a painting takes an unexpected turn.
Would you choose gold, copper or silver for your painting?
