9.REPAIRING DAMAGES

When a frame needs exten­sive repairing or touching up, it is usually both quicker and more satisfactory to refinish it completely after repairs have been made. Minor repairs, however, can be made successfully without too much effort and without re-finishing the entire frame.

Artists sending pictures to exhibitions have definite problems because the frames rarely return in the same condition in which they were sent. Packing, unpack­ing and repacking, handling while hanging, etc., all leave their tell-tale marks. The artist is lucky if the joining of the corners holds, let alone the finish. If the frame has a durable surface, only a cleaning and per­haps minor touching up is necessary. It is therefore a wise course to apply a finish which either does not show handling or is readily re-finished. Casein paint finishes are comparatively fragile but are the easiest of all to re-finish. A good plan might be to decide on a basic finish and to use it for all pictures sent to exhibitions.

For this purpose, a standard for mixing neutral basic tones should be made which should be adhered to at all times. Finishes can then be duplicated quick­ly and with a minimum of effort. For example, as a basic neutral finish for casein paint, one can decide to use three parts of white casein and one part of raw umber.Once the proportions have been decided, a reasonable amount should always be kept on hand.

Through accident, a frame is sometimes dropped or struck, causing a dent, knocking off some of the decoration or otherwise injuring it. If the damage is not severe and the joints have not been loosened, it is usually sufficient to repair the damaged spots with crack filler and merely touch them up. If the damage consists of a dent, so that the finish is pressed into the wood but still adheres, it will be necessary to remove the finish before filling the depression. Scrape it away carefully with a knife and scratch or otherwise roughen the dent to hold the crack filler. Make a mixture of filler rather on the thin side and apply it carefully, using a small spatula to smooth it off level with the surrounding wood. It may be necessary occa­sionally to size the filler after it has dried and been sanded before touching up with either water colors or oil paints. This repair cannot be made successfully to finishes which have been evenly toned by glazing, but may be used on any finish that has irregularity of color or surface.

For smooth surfaces, it is more efficient and satis­factory to use "Repair Sticks". These are available in all colors and all shades of gold and silver. They are simply rubbed or melted with a match into the depres­sion and polished with a cloth until level. They are similar to shellac sticks but consist of some type of wax and coloring matter.

Should a small piece of the frame be knocked or split off, it is important that the area be roughened and that small tacks, nails or brads be driven in to act as armatures when the crack filler is applied. For practice, cut or damage a piece of scrap molding and try various kinds of repairs.

When an old frame with fragile, plaster ornaments is badly damaged, it is sometimes possible to salvage it by knocking off all the same type of ornaments (the beading, for instance) around the frame. It should then be sanded with rough sandpaper and simple decorations substituted if necessary. This method will only work if a uniform effect can be achieved. The work involved is wasted if the frame is in such poor condition that so many ornaments have to be re­moved that the frame is practically bare. Try to esti­mate the time needed to repair the frame and always examine the frame carefully to see whether it is worth the work that may be involved. Casting Ornaments For Repairing

First oil the ornament or section to be duplicated. Soften red dental impression compound in very hot water and work it out to a sheet 1/8" or more thick and large enough to cover the section so that about 1" extends all around. Saturate a cloth with hot water, and working the compound until it is soft and pliable by repeated dippings in the hot water, quickly press it down over the ornament, using enough pressure to make sure that it is forced into all the- crevices. Use the wet, heated cloth while pressing down if the de­pressions are very deep. Allow it to cool and harden and then lift it off carefully. The mould is now ready for casting, but first oil it lightly and then construct cardboard supports so that it will not tip over when the plaster or compound is poured in. Adjust the supports so that there will be a more or less flat surface where it is most needed. Mix the plaster of pans to the consistency of very thick cream and ladle it into the mould, jarring occasionally to force out air bubbles.

After the plaster has set completely, but before it is completely dry, remove from the mould. It may be necessary to dip the entire assembly into hot water to soften the compound. This should be done so that it literally "falls away" from the casting. Because the casting is not yet hard, handle it very carefully. Place it face down and see how much of the back of the casting needs to be carved and sanded away before it will fit snugly into place. Begin the fitting process and proceed very slowly and carefully. After repeated try­ing and cutting, the section will fit perfectly. Allow it to dry thoroughly and then coat both the ornament and the space with glue. Attach the casting and bind it with string or weight it down until the glue is dry. Flow very thin crack filler into the remaining cracks or spaces. The frame is now ready for re-finishing but before doing so, remove all traces of oil or grease with the proper solvents.

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