(I must emphasize this method is not for every item.)

I do not use this method all the time. That is why I am suggesting that before attempting this application, to become familiar with the basic steps of gilding. How I learned gilding was from purchasing a kit from an art store. Of course today we have companies such as Baggot Leaf out of NY, that offers a full line of traditional gilding supplies and the expert of all experts, Grace Baggot, offers intense classes on the way of the time-honored methods of gilding. (Mail Order: Baggot Leaf, a member of the AOR, carries a complete line of all traditional supplies for gilding. Call 212-431-GOLD (4653) for a catalog)

For those of us who wish to make a repair using an alternative method I have found this way to be efficient and the results are professional. This method is making a repair rather than completely re-gilding a frame of piece of furniture. The best that a restorer can do for his customer is to have an understanding of both processes so options can be given.

The kit that I learned from contained a prep or under coating (usually a red or bright yellow paint) then a sizing (the substance that will make the gold leaf stick), an antiquing glaze (gives it an aged look) and a protective sealant (to keep the finish as it appears.) Once we understand all these products, then we can substitute other mediums to achieve the same desired results.

Materials needed:

Mineral Spirits or Naphtha (Paint Thinner can be substituted and costs much less) Most people think of Paint Thinner as a strong chemical. It is not. I have never known it to do any damage to any surface. It is the safest chemical that will remove waxes and grease. It sometimes will not remove the dirt or other substances that has embedded itself on an item. For more information on cleaning, contact the AOR’s headquarters.

Murphy’s Oil Soap

Hand Cleaner - information on brand is in the text, under cleaning

Exact knife - any art store

Bondo - Home Depots carries this product known as All purpose Putty, also check with you local hardware store

Alginate - Contact your local Dentist and ask him/her to order you a 1-pound can or contact Restoration Supplies: 1-888-RESTORE.

CA, Cyanoacrylate adhesive or Instant glue (Crazy glue) - any hardware store

Plasticine Clay - Modeling clay, can be located in any art store

Pam -Grocery store, used as a mold release

5 minute Epoxy Adhesive - Any brand will work, I use Mohawk Finishing Products for my choice of epoxies

Grease Resistance Paper Plates

Lacquer Thinner or Acetone

Gold Powders - Can be purchased from most art stores. If you purchase metal base powder, be real careful using them. Do not breath in any of the dust; they can be extremely dangerous to your health. See information on Baggot Leaf, they carry a complete line of Mica Powders. (Mica powders are made from mineral, they are non toxic, retain their color, will not tarnish)

Dutch Gold or Metal Leaf (imitation leaf) - Real gold can be used if you prefer. The difference is about 10 times the price. Metal leaf (Imitation Gold) - Cost approximately $15.00 for 25 large sheets Real Gold Leaf - Cost around $50.00 for 25 small sheets. The metal leaf will never give the exact look of smoothness and color as the real gold leaf. It works fine when simulating aged gilding on curved ornate parts.

Two part epoxy putty - Plumbers Seal made by Atlas Mineral Co. This can be located at a local plumbers supply company. Call 1-800-523-8269 for the closest store to you

Sand paper: 150, 220 (grits)

Razor Blades - single edge

The steps:

1. CLEAN - Clean the item. Depending on its condition, a basic cleaner that will remove most oils and dirt with out damaging the finish is Mineral Spirits or Naptha. If the item needs more cleaning, I use a detergent cleaner. First I use mild dish detergent, if in need of a stronger cleaner, I then use Murphy’s Oil Soap. Another product that works well is a product that Ernie Kionke, a member of the AOR and an educator in the field of restoration, introduced at the first AOR convention, in Albany, NY, 1997. It is a hand cleaner made by Loctite, called Permatex Hand Cleaner. Call around to your hardware stores to find out who carries it. Just apply it to the surface and let it sit for a few minutes and wipe off. If any hard rubbing is done on the frame, it will damage the existing gold. One must proceed cautiously and let the chemicals do the work. If none of the above products are achieving the desired results, then you will probably end up doing damage by using stronger chemicals. In that case you will have to be prepared to re-gild these areas. The alternative epoxy method is not intended for flat, smooth surfaces. (Especially for the beginner) You need to revert to the traditional methods of gilding for the straight smooth sections on a frame. I have been able to master this technique, but it is very challenging and it may cost you a great deal of time if not done properly. Epoxy gilding is easily performed on the ornate, decorative parts of a frame.

2. REPAIRS – Make all necessary repairs so it is structurally sound. Check the frame for its condition. Is the finish securely in tack? Take a knife and tap over the exterior. A hollow sound will happen in areas where the surface has separated from the wood. These areas may be left alone or may need attention. Bring it to the attention of the customer. If it comes loose or off during your process, then you will be held responsible for the extra restoration, if not brought to the customers attention. If the finish is flaking and lifting, it may be a larger job than anticipated. In most cases, it is only the obvious damage that can be seen by the eye, that needs attention. But it is always important to check, because once you take responsibility of restoring, then if you discover a hidden affect of damage, it is very difficult to go back to the customer and report your findings. A rule of thumb for any item that is brought in for repair is to check it over for pre-existing damage. All restorers will tell stories of being stung!

Chips: Fill in all the chips and small missing sections with Bondo or two-part polyester filler. Directions are on the can. It may take up to three fills to get it even. Sand with 150 grit, then 220.

Create Missing Part: There are several ways to duplicate missing parts. For small, flat sections, use Plasticine Modeling clay. Just push the clay over the part to be duplicated and you will have the relief transfer. Then mix up some Bondo, and place it directly into the relief section. The oils in the clay will work as a release. There is no need to spray Pam or a releasing agent. The Bondo will start to set in about 2 to 3 minutes. At this point, remove it from the form and then trim off all the excess with a razor blade. This will carve quite easily at this point. Once it has cured, you then will have to trim off with course sandpaper or a drill. (Work quickly).

For larger, detailed 3-demensional items, use Alginate. This will give you a greater amount of working time. Directions will be on the container. This product will give you flexibility to duplicate curved parts. After it sets, it is very pliable and will pull away from round corners (areas that have undercuts) with out doing any damage to the frame. The Alginate is a throw away mold. Once it dries, it will crumble. It takes a long period of time to dry; depending on conditions, probably a day or two, so you have plenty of time to duplicate your part. As far as I am concerned, if I cannot do it in 5 minutes, it’s taken too long!

Again use Bondo to create the part. You will not need to use a mold release agent with the Alginate.

Another method of making a mold is using the Bondo, itself. Coat the area to be duplicated with Pam. Use a brush to even out any puddles that may have collected in cavities or low parts. Mix up Bondo according to directions on can and goop over the area to be copied. This next step is critical. Stay right with your project. Keep testing the left over Bondo that is on the paper plate where you mixed it. Once this is solidified, the first few minutes it will be in an elasticity state where it can be bent and pulled away with out doing any damage. After about 5 to 8 minutes it will become hard and will not budge. It needs to be removed at the right time so that is does not get struck to the item. If you walk away and forget that it was on there, when you return you will have to get out your chisel to get it removed. Stay right with the process until its complete.

Using the Bondo as the mold, you then can mix up some more Bondo and pour directly into the form. You must cool down your mold first! I just place it in some cool water, if you do not want to wait till it cools down by itself. If it is not cooled down completely, then when you place the newly mixed Bondo into the form, the heat from the form will set off the new Bondo and instantly it will set. Then it will not be able to be removed from the form. How do I know this, I will let you figure that out.

3. Position Part in Place: Once you have created the missing part, either use epoxy glues or CA glues to hold in place. I prefer the CA glue because of the time factor; it will give an instant hold. (I recommend never using instant glues as a strong bonding adhesive. They break down over time. I use them only for tacking in place)

4. Fill in Gaps & Missing Areas: After securing in place by either an instant adhesive or an epoxy, next you need to even out the sections of where it joins. Use the two-part epoxy putty. Add the filler to level out the boarders or to build up the missing gaps. Whatever it takes to get it ending up smooth and even. I use a paintbrush dipped in water to get into areas that I cannot smooth with my fingers. This can only be done within the first few minutes of its set. (0-10 minutes) After that it will not grasp or cling to the surface and it will start rolling up on the edges. Just mix up some more and start again. This product cures as hard as stone. Make sure that you do not have any overfill. It is better to keep adding to bring level, than to sand to make level. Finish with sanding, 120, 220, no need to go any further. Do not get to detailed with the sanding since this alternative epoxy method reduces the exactness to make the repair completely smooth and even.

5. Epoxy Size - After the repairs are completed, start the gilding process. You may wish to experiment a few times on an object of no value. This will give you the practice to achieve the timing and way of applying the adhesive. If you make a mistake then your work will be compounded. Better to get the technique mastered before applying to your work.

First, fill a small metal or ceramic container with lacquer thinner or acetone. Then mix even proportions of the epoxy adhesives, (measuring enough to cover

the area to be gilded), on the back of a paper plate. If you use the front, it will pick up the grease coating and then your epoxy will separate. I use 5-minute epoxy. You may wish to start with a longer setting epoxy to give you more working time. Mix the epoxy thoroughly ( I count 100 mixes with a tooth pick. I go quickly), then apply the adhesive with a paint brush. There is just so much time you have to work with. 1 to 11/2 minutes after it has been mixed. You need to get it onto the area evenly with no sections missed. Sometime I use my fingers. I recommend wearing latex gloves. Whatever it takes to get it on the area smoothly. Feather the edges with a paintbrush or take your finger and with pressure pull away the edges so they feather in. Immediately, clean you paintbrush. Clean, clean, clean! Quick, quick quick! Otherwise it becomes part of your overhead expense. To make sure your paintbrush is thoroughly clean, have a small dish of paint stripper available, to soak it in it for a few minutes. Then clean with lacquer thinner. This will remove all the excess epoxy glue.

Let the adhesive set for approximately 15 to 20 minutes. This depends on the brand and the whether conditions. It may take a little shorter time or a little longer time. The thing you want to do is to keep checking your paper plate to see when the glue has become almost dry to touch. If you apply the leaf too soon it will crinkled. If you wait too long it will not adhere. That is why you need to experiment a few times to work out the bugs. Once you feel the timing is exact, then place the gold leaf sheet on the part glued. You will see how nice it lays down. Take a soft brush and poke into all the detailed areas. If the area has a lot of detail, just brush on some gold powder. (MICA POWDERS are recommended from Baggot Leaf). Make sure the leaf has stuck to the adhesive and give it about another 20 minutes. Then come back over with a soft cloth and rub all the excess off. If you have applied gold powder then remove with a brush. The finish should be that of the traditional look of gold leaf. If you have used the real gold leaf, then you do not need to seal it. If you are matching in the patina, then pigments added to shellac would recreate the color and the look. If you have used the metal leaf then it will need to be sealed with shellac or lacquer.

Blending in the area to match is the skills of the artist. Once the base is of the gold leaf then many techniques can be applied to simulate the patina. Another topic! Another time!

I will be demonstrating this technique at the convention. I will have samples of the finished product. If anyone wishes more information or has questions I suggest listing your concerns on the Internet so everyone can share in on the information.