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The most labor-intensive part of Kristi Linauer’s gradient tasting-spoon pendant is preparing the bowls: cut away every handle, round the cut edge, prime, sand, paint in color batches, gild the backs and borders, cover the edges, and drill a hole for a jump ring. Her May 31, 2024 tutorial documents that sequence for a project planned around roughly 1,200 spoons and 15 graduated colors. The quantities are specific to her build, not a universal parts list.
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What this part of the pendant-light project does
This installment prepares the wooden tasting-spoon bowls before they are attached to the wire lampshade frame. The electrical kit and the frame are covered elsewhere; this tutorial is about turning disposable-looking spoons into consistent, paintable pendant elements. Linauer describes the bowl preparation as the slowest stage, but also the most enjoyable: “The part I worked on is the slowest and most time-consuming part of the whole process, but it’s also the most fun.” Read her complete account in Part 3 — Prepping the Spoon Bowls.
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The finished bowls are not simply painted one at a time. They move through a production line: cutting, sanding, priming, color sorting, gilding, front painting, border decoration, edge treatment, and drilling. Keeping each operation grouped by batch makes the long project manageable and helps the gradient stay orderly.
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Materials and tools for the bowl-preparation stage
Linauer’s account identifies the following categories. It does not establish a particular brand, model, price, or performance rating for them.
- Wooden tasting spoons, with handles removed using wire snips.
- A handheld rotary sander or suitable abrasive accessory for rounding the cut edge.
- Primer, applied with a small brush or sprayed onto bowls laid flat.
- Fine hand-sanding materials for smoothing the primed surface.
- Fifteen paint colors for the gradient batches.
- Liquid gold gilding and a small craft brush.
- An 18kt Gold Leafing Pen for faster coverage on the bowl edges.
- A Dremel-style rotary tool with a tiny drill bit.
- 10 mm jump rings, specified in the companion frame article, for connecting bowls to the wire cage. See Part 1 — Building the Frame for the Light.
Set up separate trays or clearly marked areas for uncut spoons, sanded bowls, primed bowls, each color, gilded pieces, and drilled pieces. That organization is a practical way to prevent freshly painted surfaces from being stacked against one another and to keep the gradient batches identifiable.
Step 1: Remove the handles cleanly
Linauer began with about 1,200 spoons and used wire snips to cut off the handles. The result needed for the pendant is the shallow bowl, not a long spoon blank. Make the cut as consistent as possible so the remaining edge can be rounded in the next operation.
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Work in a repeatable rhythm
- Place one spoon so the bowl is supported and the handle extends beyond the support.
- Snip through the handle close to the bowl without crushing the bowl itself.
- Put the cut bowl in a dedicated container and remove the handle scrap from the work area.
- Inspect the cut edge before moving to sanding; pieces with a split or badly crushed rim should be separated rather than forced through the rest of the process.
The 1,200 figure is Linauer’s project estimate, not a guarantee that every version of this pendant needs that many spoons. Her later finished-project recap explains why: she initially prepared about 850 bowls, then discovered she needed approximately twice as many as that first batch. Read that update at the finished-project recap.
Step 2: Round the cut edge
A straight saw-like cut is visually harsh and can leave a sharp-feeling transition. Linauer sanded each remaining bowl until the cut end was rounded. She used a handheld rotary sander, holding it upside down with her knees because she did not have a bench sander. That is a description of her available setup, not a claim that a particular posture is safest for everyone.
Rotary sander versus bench sander
| Approach described | What it offers in this project | Limitation to plan for |
|---|---|---|
| Handheld rotary sander | Works without a permanent bench machine and can be brought to each bowl. | Each bowl must be positioned and controlled individually; consistency depends on the operator. |
| Bench sander | Provides a fixed working surface that can make repeated edge shaping more uniform. | Requires access to the machine and a setup that accommodates the small bowls. |
Whichever tool you use, remove only enough material to soften the edge. The goal is a rounded perimeter that will look intentional after gilding, not a thin or misshapen bowl. Wear the protective equipment recommended for your sander and keep dust away from wet paint and gilding areas.
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Step 3: Prime every bowl
Primer creates the prepared surface for both the gradient paint and the metallic finishes. Linauer started by brushing primer with a small brush, then changed to spraying bowls laid flat on an outdoor work surface because brushing each bowl individually seemed impractical.
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| Primer method | Batch effort | Control issue noted in the tutorial |
|---|---|---|
| Small brush | Direct control over one bowl at a time, but slow across a very large quantity. | Individual application becomes impractical at the project’s scale. |
| Spray primer | Faster coverage across many bowls arranged together. | Some lightweight bowls were blown away by the spray. |
If you spray, arrange the bowls on a surface where displaced pieces can be collected without touching wet neighbors. A temporary screen, shallow tray, or weighted perimeter can help keep the batch together, but do not place anything on the painted faces. Follow the primer’s label directions for ventilation, drying time, and recoat conditions. If you brush instead, use thin, even coats and allow them to dry before handling.
Once the primer was dry, Linauer gave each bowl a quick hand-sanding to remove the roughness left by the primer. This light pass is not the same as reshaping the cut edge: it smooths the primed surface so later color coats do not emphasize raised fibers or texture.
Step 4: Sort the bowls into the 15-color gradient
After priming and the quick smoothing pass, Linauer divided the bowls into 15 color piles. Sorting before painting is important because the project uses color batches rather than an improvised color order. Label containers with the color name or number and keep a written count as pieces move from one stage to the next.
How Linauer’s counts should be read
| Color-batch note | Reported quantity | Qualification |
|---|---|---|
| Red batch | 88 bowls | Linauer’s working count for this project. |
| Dark-pink batch | 84 bowls | Four fewer than the preceding batch in her plan. |
| Third color | 80 bowls | Again four fewer in the stated sequence. |
| Each later color | Four fewer than the previous color in the plan | This is a project-specific working pattern, not a universal requirement. |
The tutorial includes the phrase “I needed 88 of these” while discussing the red batch. Do not turn that number, the 15-color count, or the 1,200-spoon estimate into a bill of materials for every ceiling height, frame size, or bowl arrangement. The later recap shows that the first prepared quantity was not enough for Linauer’s finished design.
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Step 5: Gild the backs
Linauer painted the backs of the bowls with liquid gold gilding and a small craft brush. She covered most of the back first, allowed it to dry, then painted the area that had been held during the first pass. This two-part approach lets you coat the entire back without needing to touch wet gilding.
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- Hold the bowl by an area that can remain uncoated temporarily.
- Brush liquid gold gilding over most of the back in a controlled layer.
- Set the bowl aside until the gilding is dry according to the product directions.
- Reposition it and cover the section hidden by your fingers during the first pass.
Keep the back-batch workflow separate from front painting. Metallic material transferred to a colored face can change the intended gradient, while wet gilding stacked against another bowl can mark both pieces.
Step 6: Paint the front in color batches
With the backs prepared, Linauer painted the front of each bowl using the mixed gradient colors. She applied two coats to each bowl for full color. Work through one labeled pile at a time, keeping the paint mixture and the bowl count associated with that color.
A practical two-coat sequence
- Lay the bowls with their painted faces accessible and spaced so edges do not touch.
- Apply the first coat to the front of every bowl in one color batch.
- Allow that coat to dry before turning, stacking, or applying the second coat.
- Apply the second coat to achieve the full color described in the project.
- Move completed pieces to a protected drying area labeled with the batch color.
The two-coat statement is Linauer’s account of her finish. Drying time, coverage, and the amount of paint required will vary with the product, the wood, and the conditions in your workspace, so use the paint manufacturer’s instructions rather than assuming a fixed interval.
Step 7: Add the irregular gilded border
After the colored fronts dried, Linauer used a small brush and liquid gold gilding to draw an intentionally irregular decorative border around each painted front. The uneven line is part of the handmade look; it is not presented as a measured stripe or a precision lettering exercise.
Keep the border narrow enough that the gradient remains the dominant field of color, and rotate each bowl as you work so the gilding follows the entire perimeter. Set each finished bowl aside until the border is dry before beginning edge coverage or drilling.
Step 8: Cover the bowl edges
Linauer first used brush-applied gilding on the edges, then changed tactics because brushing every edge was slower than she hoped. She used an 18kt Gold Leafing Pen to speed up edge coverage. This is an author-reported efficiency choice, not a tested comparison of products.
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Brush versus leafing pen
| Edge treatment | Documented advantage | Trade-off |
|---|---|---|
| Small brush with liquid gilding | Uses the same gilding material as the back and front border and allows direct control. | Linauer found the repeated edge brushing slower than expected. |
| 18kt Gold Leafing Pen | Chosen by Linauer for faster edge coverage. | The tutorial does not establish a durability, color, or coverage test against brush application. |
Whichever method you use, protect the already painted front and gilded back from accidental contact. Treat the pen as a finishing tool, not as evidence that every pen will behave identically; follow its own preparation and drying instructions.
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1Repair Windows errors before they cause bigger problems2Fix the driver behind crashes, sound loss and screen glitches3Clear out junk files and repair common Windows errorsStep 9: Drill the hole for the jump ring
Each prepared bowl receives a small hole drilled with a Dremel and tiny drill bit. The hole accepts a jump ring, which then connects the bowl to the wire lampshade cage. The companion frame post specifies 10 mm jump rings.
- Mark the hole location consistently on each bowl so the finished rows hang at a predictable angle.
- Support the bowl on a stable, non-damaging surface and keep fingers clear of the bit.
- Use the rotary tool and tiny bit to make a clean through-hole rather than forcing a large bit through the wood.
- Clear dust from the hole and inspect the surrounding wood for splitting.
- Keep drilled bowls in a separate, counted container ready for attachment to the frame.
Drilling is the final bowl-preparation operation in this installment. It is not electrical installation: the hole is solely a mechanical attachment point for the jump ring and wire cage. Electrical assembly, the pendant kit, and the frame belong to the project’s other stages.
Keeping a large batch under control
A project with hundreds or more than a thousand small parts benefits from written tracking. Record the number entering each stage, note damaged or discarded pieces, and keep the 15 color piles physically separate. A simple checklist can include: handles removed, edge rounded, primer dry, hand-sanded, back gilded, first front coat, second front coat, front border, edge gilded, and hole drilled.
Do not stack bowls face-to-face while paint or gilding is still tacky. Use drying surfaces that let air reach the coated areas, and move pieces only when the finish can tolerate handling. If a spray pass scatters lightweight bowls, stop and regroup the batch before continuing so one color does not lose pieces to another pile.
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What the finished-project update changes about planning
Linauer’s June 20, 2024 recap is useful for planning because it records a mismatch between the first preparation run and the final need: she had initially prepared about 850 bowls and later realized she needed roughly twice as many. That experience is a warning to size your own quantity from your frame dimensions, spacing, rows, and desired fullness rather than copying a single count. The recap is available at The DIY Gradient Wood Tasting Spoon Pendant Light Is Finished!!.
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For the same reason, buy or collect extra spoons before beginning the color work. A bowl lost during cutting, sanding, priming, painting, or drilling can otherwise leave a visible gap in a carefully balanced gradient.
Common problems and practical corrections
The cut edge still looks straight
Return the bowl to the sanding stage and soften the transition gradually. Avoid removing so much material that the bowl becomes thin or asymmetrical.
Primer leaves a rough surface
Wait for the primer to dry, then use the quick hand-sanding pass described by Linauer. Remove dust before applying color.
Spray primer moves the bowls
Use a flatter arrangement, reduce the number of pieces in one pass, or switch to brush application for the affected batch. The tutorial specifically notes that some lightweight bowls were blown away.
The gilded back has an uncoated patch
Let the first application dry, then cover the section that was held during painting. This is the sequence Linauer used to reach the entire back.
The color looks thin after one coat
Apply the second coat after the first has dried. Linauer reports using two coats for full color.
The drilled hole splits the bowl
Stop drilling that piece, isolate it, and check whether the bit is too large, the bowl is unsupported, or the hole is too close to the edge. Use a sound spare rather than allowing a cracked bowl into the hanging assembly.
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- All handles are removed and the bowl edges are rounded.
- Primer is dry and the surface has received its light smoothing pass.
- Bowls are sorted into the intended 15 color piles.
- Backs are fully gilded, including the area initially held during painting.
- Fronts have two color coats and an irregular gilded border.
- Edges are covered with brush-applied gilding or the chosen leafing pen.
- Every bowl has a clean attachment hole sized for the planned jump ring.
- Finished bowls are counted and stored by color until they are attached to the wire frame.
Once those checks are complete, the bowls are ready for the next construction stage: attaching them with jump rings to the wire lampshade cage described in the frame tutorial. The preparation itself remains a separate, finish-focused operation, and its quantities should be adapted to the particular pendant you are building.
Quick Recap
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