Imitation Gold Leaf and Dutch Metal: The Complete Guide

Imitation gold leaf, Dutch metal, Schlag leaf, composition leaf and faux gold leaf are all names for the same material - thin sheets of brass alloy that give the appearance of gold without the cost of the real thing. If you have been comparing products under three different names and wondering what the difference is, the answer is usually that there is none.

It suits interior furniture, frames, artwork, display pieces, decorative mouldings and large-scale gilding where the budget will not stretch to genuine gold. What it will not do is behave like gold outdoors. Imitation leaf tarnishes, it has to be sealed, and it is not a material for unprotected exterior work.

Getting it right comes down to four decisions: grade, shade, format, and the lacquer that goes over the top. This guide covers all four. If you also need to choose an application method, our guide to water gilding versus oil gilding covers the systems in more depth.

Dutch metal, Schlag, composition leaf and faux gold: are they the same?

The naming is genuinely confusing, and it is confusing because different trades, countries and manufacturers settled on different words for one product. You will see the same brass leaf sold as:

•   Imitation gold leaf

•   Dutch metal

•   Schlag leaf, or Schlagmetal

•   Composition leaf

•   Brass leaf

•   Faux gold leaf

•   Metal leaf

Schlag comes from the German for beating, describing how the metal is worked into sheet - you will also see it spelled shlag in product listings and searches. Composition leaf refers to the alloy composition. Faux gold tends to be the decorative and hobby term, and Dutch metal is the oldest of the trade names.

None of these should be confused with genuine gold leaf, which contains real gold and is identified by carat, colour and weight rather than by shade number. We bring every format together in our imitation gold and silver leaf collection, which makes it easier to compare booklets, bundles and rolls side by side.

What imitation gold leaf actually is

Imitation gold leaf is a brass alloy of copper and zinc. Varying the ratio produces warmer, paler or redder tones, which is where the shade numbers come from.

The metal is beaten into thin sheets, though it is noticeably thicker and heavier than genuine gold. That makes it more forgiving to lift and place, but do not mistake it for robust: it still tears and creases very easily, and a careless handling will show. Treat it gently, work in a clean and still environment, and keep the surface dust free before you start.

Against genuine gold, its advantages are cost, leaf size and coverage. A single imitation leaf covers considerably more ground than a genuine one, which is what makes it viable for large panels, scenery, display work and any project measured in hundreds of leaves rather than dozens. It works on properly prepared timber, plaster, canvas, glass, metal, ceramics and mouldings.

Its one real limitation is oxidation. The copper content reacts with air, moisture, skin oils and household chemicals, so an unsealed surface will darken, spot or dull over time. Genuine high-carat gold leaf does not behave this way, which is why it remains the correct specification for exterior gilding, monumental work and anything where colour has to hold for decades.

Standard and Italian grades

We supply imitation gold in two grades, and the practical difference is not only quality - it is also how many shades you can choose from.

Standard grade comes in two shades, 2.5 and 2. It is the sensible choice for decorative work on a controlled budget, large interior areas, theatre and display, craft projects, furniture and frames, anything that will be distressed or antiqued, and for practising technique. When a job needs several thousand leaves, the saving is substantial and the finished effect is often indistinguishable once the surface has been aged.

Italian grade is the higher quality option and comes in three shades, adding the reddish Shade 1. It is worth the extra where the finish will be viewed closely and consistency matters: fine interior decoration, detailed artwork, furniture and frame restoration, client samples, and broad smooth surfaces where any variation between leaves would be visible.

Neither grade escapes the sealing requirement. Both are brass, both contain reactive base metals, and both need a compatible lacquer over the top. Our standard imitation gold and silver booklets sit alongside the Italian range so you can compare before committing to a large order.

Shades 2.5, 2 and 1

Shade numbers describe colour, not gold content. Imitation leaf has no carat value because there is no gold in it - the numbers exist so you can match the appearance of a genuine carat.

Shade 2.5 gives a rich traditional gold, comparable in colour to 23.5ct genuine gold leaf. It is the most versatile of the three and the usual starting point for traditional picture frames, furniture detail, mouldings, lettering, religious artwork and classic interior finishes.

Shade 2 is slightly paler, comparable to 22ct. It sits better with lighter interior schemes, contemporary decoration, pale timber and cooler paint colours. Held side by side the difference is subtle; across a whole gilded panel it is obvious.

Shade 1, available in the Italian range only, has a distinctly reddish, copper-toned character comparable to 23ct red gold leaf. It suits warm timber, red and burgundy grounds, antique effects, and any design meant to read as red gold.

Two things shift the final colour beyond the leaf itself: the ground beneath it and the lacquer over it. A dark red base deepens a warm gold; a yellow ground makes small gaps and faults far less noticeable. For colour-critical work, order a physical colour chart rather than judging from a screen.

Loose leaf, transfer leaf and rolls

Format is decided by the shape of the surface more than anything else.

Loose leaf sits free between the pages of the booklet and is lifted with a gilder’s tip or handled on a cushion. Because nothing supports it, it settles into contours far better than transfer, which makes it the right choice for carving, curved furniture, mouldings, textured surfaces, recesses and raised ornament. It is also at the mercy of any air movement - an open window, a fan, even a sharp breath will fold it.

Transfer leaf is lightly attached to a supporting tissue. You position the tissue over the sized surface, press or rub gently, and the leaf releases. It is much easier on flat panels, broad furniture sections, straight lettering and vertical surfaces, and it is the format most beginners should start with because placement is controlled and handling is minimal. It will not follow deep carving as readily.

Rolls are continuous leaf, and they solve a problem the other two formats cannot. On long unbroken runs, borders, mouldings, coachlines, signage bands, booklet leaf means a join every 140mm and a visible overlap at each one. A roll runs the length of the line. Our wider metal leaf rolls range covers genuine and imitation in both gold and silver.

Booklets, bundles and how much to order

Imitation gold booklets contain 25 leaves, each measuring 140mm by 140mm. Bulk loose leaf comes in bundles of 100, 500, 1,000, 5,000 or 10,000 sheets, and the bundle leaves are larger at 160mm by 160mm - worth factoring into your calculation, because it changes the coverage per sheet.

Booklets make sense for smaller jobs, repairs and colour testing. Bundles become the economical route once you are working the same shade across a large area or in repeated production: interior panelling, furniture workshops, set and scenery construction, retail display manufacture, decorative art studios, repeated frame production and large lettering runs.

Work out the surface area before ordering, then add for overlaps, cutting, faulting and awkward detail. How much to add depends on the shape of the object and the experience of whoever is laying the leaf - on carved work a third again is not unusual, on flat panels considerably less.

For textured and broken-gold effects, imitation flakes offer a quicker route than cutting leaf by hand.

Imitation silver, copper, tin and variegated leaf

Imitation gold is one of a family of non-precious leaves, and the same principles govern all of them.

Imitation silver is aluminium rather than brass, which makes it more stable than imitation gold - but it still benefits from sealing, and the finish is protected the same way. It comes in loose booklets, transfer booklets, bundles and rolls, matching the gold formats.

Genuine copper leaf behaves much like imitation gold: thicker than gold leaf, easy to tear, and it will tarnish readily without a lacquer. It is prized precisely for the warm patina it develops, so decide early whether you are sealing to prevent that or allowing it deliberately. Tin leaf is a softer, more malleable alternative used in decorative and conservation contexts.

Variegated leaf is an imitation leaf that has been chemically treated to produce marbled blues, greens, reds and purples across the metal. No two sheets are the same, which is the point. It is available in standard and Italian grades, and the Nazionale range covers the Italian patterns. Sealing is non-negotiable here, because the treated surface continues to react if left open.

How to apply imitation gold leaf

The process is the same as gilding with genuine gold. The outcome depends far more on preparation and on reading the tack than on the moment the leaf goes down.

1. Prepare the surface

The surface must be sound, smooth, clean, dry and free of grease, dust and loose material. Fill defects and sand anything that will be visible. Metal usually needs a suitable primer; absorbent substrates such as timber, plaster and stone need sealing first, or they will drink the size straight out of the brush. A transparent sealer does that job - it is a preparation product, not the protective lacquer that goes over the finished leaf.

2. Apply the gold size

Choose a gold size suited to the surface and the conditions. Water-based acrylic sizes are convenient for interior decorative work: they dry quickly and brushes wash out in water. Oil-based sizes give a longer working window, which helps on large or intricate areas. Either way, apply it as thinly and evenly as you can - runs, ridges and thick patches stay visible under the leaf.

3. Wait for the correct tack

Do not lay the leaf onto a wet size. Wait until it reaches a dry tack, the feel of a post-it note. Too wet and the leaf sinks, wrinkles and dulls; too dry and it will not take at all.

Test rather than trusting the stated drying time. Temperature, humidity, airflow, substrate porosity and how thickly the size went on all move the window, sometimes by hours.

4. Lay the leaf

Position each leaf over the sized area with a small overlap onto the previous one. With transfer, press the tissue gently and lift a corner to check the metal has released before peeling fully. With loose leaf, work from the tip or cushion. Move systematically across the surface, and keep bare fingers off the exposed metal - fingerprints reappear later as the brass oxidises.

5. Tamp and fault

Settle the leaf and brush away the loose fragments with a soft gilder’s mop. Once the first pass is secure, inspect for gaps and patch them with small pieces - the process gilders call faulting. Let the size dry fully before you clean anything or reach for the lacquer.

Sealing imitation leaf correctly

Sealing is not a finishing flourish on imitation leaf. It is part of the system, and skipping it is the single most common reason a job that looked superb on day one looks tired six months later.

Left unsealed, Dutch metal reacts with whatever surrounds it. Humidity, fingerprints, cleaning products and airborne contaminants all darken it, spot it or take the life out of the surface.

Let the gilding dry first

Do not lacquer straight after laying the leaf unless the size manufacturer explicitly allows it. The adhesive underneath needs to dry properly. Lacquer over soft size traps solvent and moisture, disturbs the surface, and tends to fail later rather than immediately - which is worse.

Remove grease and contamination

Keep bare hands off the leaf throughout. Where the lacquer system calls for it, use a dedicated product such as Whitsons Degreaser for Metal Leaf, which removes contamination before the matching lacquer goes on and prevents it from separating or cissing. Follow the instructions for the complete system - not every cleaner is compatible with every size, leaf and lacquer, and mixing systems is how finishes fail.

Apply a compatible lacquer

A specialist water-based lacquer for metal leaf gives a clear protective layer and comes in gloss, semi-gloss and matt. The sheen changes the result: gloss keeps most of the metallic brightness, semi-gloss softens it, and matt cuts the reflection and can leave the gold looking noticeably more subdued.

Apply thin, controlled coats with a soft brush, roller or spray. Heavy brushing marks the leaf and a thick film kills its brilliance. Test the full finish on a sample first - every lacquer alters the appearance of metal leaf to some degree, and the effect is most obvious across large smooth areas.

Our guide to gold and metal leaf care and maintenance covers cleaning and long-term protection once the work is finished.

Can imitation gold leaf be used outside?

As a rule, no. Imitation leaf is an interior material.

A lacquer slows oxidation but it does not give brass the permanence of high-carat gold. Outdoors, moisture, temperature swings, ultraviolet light and movement in the substrate work on both the coating and the metal beneath it, and once the lacquer is compromised the leaf goes quickly.

For exterior work, monumental lettering and exposed architectural detail, use 23.5ct genuine gold leaf or above. Imitation can still be the right answer for temporary outdoor displays and short-life decorative work, provided the expected lifespan and maintenance are agreed with the client at the outset rather than discovered later.

Frequently asked questions

Is Dutch metal real gold?

No. Dutch metal is a copper and zinc brass alloy made to resemble gold. It gives a similar decorative colour at a fraction of the cost, but it contains no gold and will tarnish if left unsealed.

Is Schlag leaf the same as imitation gold leaf?

Yes. Schlag leaf, Schlagmetal, Dutch metal, composition leaf, brass leaf and imitation gold leaf all describe the same type of brass leaf. The names come from different trades and countries rather than different products.

Does imitation gold leaf tarnish?

Yes. Its copper content reacts with air, moisture, skin oils and cleaning chemicals. Imitation leaf should always be sealed with a compatible lacquer to hold its appearance.

Which imitation gold shade should I choose?

Shade 2.5 gives a rich traditional gold comparable to 23.5ct. Shade 2 is slightly paler, comparable to 22ct. Shade 1, available in the Italian range only, has a warmer reddish tone comparable to 23ct red gold.

What size are imitation gold leaves?

Booklet leaves measure 140mm by 140mm, with 25 leaves per booklet. Bulk loose leaves in bundles are larger at 160mm by 160mm, in quantities from 100 up to 10,000 sheets.

Is loose or transfer imitation leaf better for beginners?

Transfer leaf is easier to position on flat surfaces and involves far less handling, so it is the better starting point. Loose leaf is the right choice for carving, mouldings and irregular detail, because it conforms to the shape beneath it.

We supply standard and Italian imitation gold leaf in every shade, as loose booklets, transfer booklets, professional bulk bundles and continuous rolls, alongside imitation silver, copper, tin and variegated leaf. Browse the full imitation gold and silver leaf collection, or if you are new to gilding, start with a gilding starter kit.