All that glitters is gold—but why does that gold always have to be so yellow or brassy?
Nailing down the right tone of gold paint reminds of highlighting my hair—it’s a rarity when my roots don’t leave the salon too brassy, yellow or grey and washed out.
That’s probably because my porous hair is screaming for a conditioning treatment, but we’ll tackle that another day.
From someone who has tried every paint under the sun [where you’ll actually find me spraying my latest thrift find], the ever-elusive beautifully-toned gold has always seemed out of reach.
For awhile I was a fan of adhesive gold leafing, but my leaf-flaked-floors and fingernails speak for themselves when they tell you that they’ve had enough of that mess.
Having fallen in love with the silver foil spray paint you’ve heard me go on and on about, I figured the gold version of its silver sister would be a no-brainer.
Here’s a glance at the silver foil spray paint in action on a Salvation Army candlestick and Bertha the skull. Nobody can stop her silver shine. Am I right?
The gold version of this foil paint, however, was a total letdown—super brassy and unattractive.
I’d given up on my ‘Goldilocks’ gold until I found two very unique frames at a garage sale that were in need of a refresh.
Aside from knowing I’d replace the pictures, I wanted to preserve the gold if [and only if] I could brighten it up with a tone I actually liked.
Back to the drawing board I went, purchasing quite a few options at Michael’s and conducting a scientific, Breaking Bad-like experiment on my office floor.
Then, I found it—the Goldilocks gold.
Hang tight for the pic replacements, but directly below, check out the paint comparison.
Side note: I’m enamored with the metallic cowhide rug underneath the frames I recently bought with a birthday gift card.
You know my metallic cowhide obsession if you’ve read my pillow dupes.
Brighter and much more glamorous, right? It’s the perfect gold for modernizing and glamorizing practically anything, but it especially highlights antiques that are ready for a rejuvenation.
As I mentioned, I only brushed on one light coat to avoid sacrificing too much of the frame’s intricacy and dimension.
Though it appeared more yellow than I anticipated during the application process, once it dried, it was just right.
Here’s a snapshot of one of the finished frames and art pieces.
One more sneak peek of the gold in action—painted on [only half, for comparison] an antique mirror I found at my favorite consignment shop.