Series editors' preface - Wood Tools

The compo can be rolled out into a long
strip about a quarter of an inch thick (~6 mm),
and 3–4 inches wide (75–100 mm), allowed to
cool and cut into squares. These can be
wrapped in damp paper towels and re-warmed
in a microwave oven for immediate use. Glue
that is kept wet and refrigerated will continue
to hydrolyse and lose strength, altering properties
as a result. If medium- or long-term storage
is required, the squares can be wrapped in
foil, dated, placed in a zip-lock bag and frozen
for up to a year.
Compo was traditionally used in conjunction
with a rigid mould. The mould was brushed
with a little oil (e.g. almond or linseed oil) to act
as a release agent. The warm soft compo was
pressed into the mould. Sufficient compo was
used to ensure that there was enough to fill the
depths of the carving and some over to leave
proud. A wetted board was placed over the top
of the compo in the mould, and the board and
mould placed under a screw press. Pressure was
applied to push the compo into all the recesses
of the mould. Excess compo was compressed
between the mould and the board. The sandwich
was then removed from the press, turned
upside-down, and the mould carefully removed
from the compo cast. The compo, still attached
to the board, was left to harden for a few
minutes and then the ornament sliced from the
excess compo with a sharp knife. Excess compo
on the board could be scraped off, melted down
and re-used. Excess is trimmed away and the
compo cast may be adhered to the support with
a strong thin gesso or PVAC glue.
Compo ornament is very often gilded.
Burnished water gilding will require the application
of two or three coats of gesso and bole,
though care must be taken not to clog detail of
the ornament. Oil gilding requires the surface
be sealed before the application of oil size.
Highlights of the compo ornament were often
picked out in burnished water gilding whilst
other areas were oil gilded.
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