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3D Scanning and Printing
3D Scanning and Printing
Surface Dirt and dust was removed using dry cleaning methods such as soft brushes and a museum vacuum on low suction with a net guard covering the nozzle.
This was followed by wet cleaning the surface of the pediment with Tri-Ammonium Citrate 2% in distilled water as it was the most affective in removing the engrained dirt and did not affect the state of the oil gilding. Acetone was used to treat the water gilding.
Surface Dirt and dust was removed using dry cleaning methods such as soft brushes and a museum vacuum on low suction with a net guard covering the nozzle.
This was followed by wet cleaning the surface of the pediment with Tri-Ammonium Citrate 2% in distilled water as it was the most affective in removing the engrained dirt and did not affect the state of the oil gilding. Acetone was used to treat the water gilding.
Once the gesso had dried it was then sanded down to make it smooth, level and matched the original appearance of the corner
Sculpting and Gilding
Sculpting in White Wax
White wax was used to recreate missing pieces of plaster on the front of the pediment. Four areas were recreated using the wax; the rope at the top of the pediment, the rope tassel on the right-hand side, a ribbon on the right-hand side and another tassel centre of the pediment.
The wax was moulded into the original missing shape of the design using metal tools. The wax was applied over a layer of clingfilm to prevent the gilding, plaster and wire being affected by the wax.
White wax recreation of rope
White wax recreation of centre tassel
Moulding in Steramould and Casting in Plaster
Once the wax had set, steramould was used to capture their detail and shape.
Crystacal R Plaster was used to recreate the replacement pieces as it is a very malleable when unset and is structurally strong. The white wax was removed from the pieces were wire was exposed in order for the Crystacal to be poured into the moulds from the back of the pediment, so they are cast in situ, allowing the Crystaal to harden around the wire structure and set.
Mould in position before casting
Crystacal poured into mould from back of pediment
Once the Crystacal had set, the mould was removed and the new cast cut to shape using a scalpel and sand paper to blend into the original structure. Liquitex Professional Flexible Modelling Plaster was also used to fill in smaller cracks and fill lines to prevent the new cast being too obvious.
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Image of Crystacal after setting - rope
Image of Crystacal after setting - right hand tassel
Applying bole, size and gilding
A bole colour was added that would blend in with the undertones of the gilding and would not be plainly obvious a colour once gilded.
Once painted, Acrylic Gold Size was applied to the Crystacal surfaces and left to set for 15 minutes before being gilt with 23.75ct loose gold leaf.
The newly gilt pieces were then distressed using arcylic colours to blend in with the original surface texture and colour.
After Gilding
After Toning
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