Is it worth using real gold? What is the difference between real gold and gold paint suitable for stone?

 

However, there is one interesting positive aspect to this situation. Gold lettering in stone is once again gaining a hallmark of uniqueness and exclusivity, which might not be for everyone. For those who are not willing to pay extra for a high-quality precious metal, we offer alternative surface finishes. And there is absolutely nothing wrong with that. 

 

I am always honest, and I will be now too. Even for me as a seller of these products, it is not easy to identify the difference between a high-quality paint and real gold. And I visit stonemason workshops very often. Why do I mention this? Since these articles are read by both professionals and lay visitors to the site, I will present the perspective from both sides. 

• It happens quite often that the customer does not know whether real gold or paint has been applied. Therefore, I recommend a direct dialogue with the craftsman and agreeing in advance on what material will be used.
• The currently mentioned high price of gold forces stonemasons to look for cheaper alternatives that they could offer to clients as a choice alongside real leaf gold.  

 

 

 

Each of the alternatives listed below reflects a certain price level, varying levels of financial and time costs.

• Gold Leaf - It has always been this way and probably always will be, that this is the most prestigious solution when it comes to lettering in stone. Whether from the perspective of tradition, the complexity of application, the final effect, or financial costs. Well-gilded lettering lasts a long time, and some masters even give a 10-year warranty. It is important to mention that this is a financially and labor-intensive alternative, which has been proven over centuries. 
• High-quality oil-based paint from the brand GOLDFARBEN is a new addition to our offer. It features an exceptionally high gloss, and for a layman, it is indistinguishable from real gold leaf. Its price is higher than commonly available paints, but the result is charming. It is a premium alternative to real gold with significantly lower costs. If you do not insist on strong tradition and a perfect result is enough for you, this option is just for you.  
• Perfect, yet more affordable alternatives to real gold are:
• Stonemason spray paints. An easy application for the stonemason. For better durability, we recommend using a base coat and a protective top coat. In our offer, you will find products from proven brands AKEMI and Kollner.
• Gold paints designed for brush application directly onto cleaned lettering. Clearly the best-selling products in this category are products from the brand Sonia or Kompozit  
• Gold or silver dust is also a traditional alternative for gilding lettering, even though the dust, just like the paints, does not contain real gold. 
• We covered the cheaper reconstruction of lettering on gravestones in the article Reconstruction of old lettering on a gravestone. Procedure, equipment, and everything necessary that you need to restore the lettering. 

Let's look more closely at the details and focus on the fact that it's not just about the surface finish of the stone, but also about the method of creating the lettering itself. In essence, we are talking about the base before gilding or applying paint. 

In the past, V-sunken lettering was more preferred, which was done by chiseling with a chisel and a hammer, or using a router - pantograph. The lettering had a V-shaped profile in cross-section and smooth walls. In recent years, sandblasted lettering has been more preferred, which has a more granular structure and is basically "flat". And here the first difference arises. Specifically, I asked experienced stonemasons about this detail, and they claim that a minor disadvantage of sandblasted lettering is that dirt or moss seeds are more easily caught in the flat surface. And this can later affect the durability of the lettering's surface finish. What does this mean? Nothing serious. I recommend that the client, during the annual maintenance of the grave, rinse the text with clean water and a soft cloth as well. They can use suitable cleaners from our offer in a spray bottle. They are designed directly for stone.

 

It is important to mention that the durability of the lettering is also significantly affected by its actual location in space, such as whether it is on the sunny or windy side, whether there are trees nearby that release organic pollution, or even a factory, for example, an ironworks.

 

• Gold Leaf - With correct application and optimal surrounding conditions outdoors (in a cemetery), stonemasons estimate the lifespan in some cases to be up to around 20 years.
• Paints - Since these are newer "gilding" techniques, we cannot guarantee more than an average of eight to ten years. Not because the paint wouldn't last. It's because we don't have older data.

 

 

 

Considering that you are a potential client of a stonemason, you should discuss it precisely with him. But let me give you a piece of good advice: You will either talk about durability or price. It is not entirely realistic to combine these two conditions. I assume that you don't perform at your maximum at work for a minimum price either. Don't ask this of the stonemason, because it might happen to you that with such an approach, you will get a cheaper alternative and won't even notice it. As already mentioned in this article.

And what is the difference? In principle, if a quality technological procedure is maintained for any alternative, gold will have perhaps a 30 to 50% longer lifespan.

1. If the client requests real gold, they must get real gold. 
2. If it is an exclusive project with gold lettering where real gold is not a requirement, use gold paint from GOLDFARBEN. 
3. If a high-quality gold lettering without a special requirement for dazzling gloss is sufficient for the client, use proven options:
• Gold paint applied with a brush
• Gold spray paint
• Gold dust set in gold size (mixtion) 
• Note: in the case of paints or cheaper alternatives, these are still high-quality, UV-stable, and durable coatings. The difference from more expensive alternatives is mainly in the reflections and "brilliance", for example, during a sunny day.  

Detail of freshly applied gold leaf in sandblasted lettering.  

 

Solution	Appearance	Durability	Cost Intensity	Typical Use
Gold leaf	Highest gloss, traditional look	15–20 years*	High	Representative and exclusive monuments
GOLDFARBEN Paint	Very similar to real gold	approx. 8–10 years*	Medium to higher	Luxury look without using real gold
Gold paint	Nice gold shade	approx. 8–10 years*	Low	Standard lettering restoration
Gold spray	Uniform look	approx. 8–10 years*	Low	Quick restoration of larger areas
Gold dust	Traditional look	depends on application	Medium	Traditional stonemasonry work

 

* Durability depends on the quality of application, type of stone, and weather conditions.

How do I know if I have real gold on my monument?

• Real gold has a high, almost mirror-like metallic gloss, a dazzling appearance, and a smooth surface without graininess. 
• Premium paint from Goldfarben is extremely similar, and the difference can be seen in a fine metallic grain, which is only visible from close up.
• Commonly used stonemason gold paints also have a nice color, but they slightly lack the high gloss. This is best compared directly at the cemetery, where you can compare different works of stonemasons. 

Times are changing, technologies are changing, procedures are changing. Progress does not mean disrespect for traditions and preferring a low price at the expense of quality. Development brings options to choose an adequately high-quality material, for example, according to the client's financial possibilities. Being a traditional stonemason shouldn't mean that you reject progress. 

Stonemasonry truly belongs among the oldest crafts, and quite a lot has changed since cave times. And it changes every day. 

 

Pavol Šáray

CEO & Technical Guarantor DiaSegment

I spend most of my time out in the field with customers, where we look for the best solutions for their specific tasks directly at construction sites or in stonemason workshops. These field trips are my greatest inspiration – I then process insights from practice into professional articles to help you navigate the subject. Since I am often fully engaged in work, you might not reach me immediately, but I will be happy to give your questions my full attention.