Two sections of moulding having a white acrylic wash applied. This moulding is part of a self-assembly frame order that an artist ordered to frame some oil paintings for an exhibition. Normally they go out unfinished or unpainted for the customer to finish themselves. This time we were asked to apply the finish in the workshop. We used an acrylic gesso applied quite wet to give a washed effect. This is a job that can be accomplished at home or in the studio with normal artists acrylic paints.
Deep section inlay frames, also known as ‘Floater’ frames. Four 600mm square frames and a 20x8inch frame ready to be packaged and sent out to customers. Theses frames are for deep section canvases up to 40mm deep. The black ones are dyed and then waxed to provide a subtle but tough finish. The natural wood ones are left unfinished for artists to paint themselves if desired.
For some reason maps have been a popular item to have framed recently. I hadn’t done one for ages then along come three all at once! Just like the proverbial London busses.
This one was a full OS map of the Lake District. Dating from the early 1960’s the map was printed on paper mounted on linen to allow the map to be folded without falling apart, which was common practice in those days.
One of the challenges with maps is the size. This one was about a meter square and required two separate mounts cut from one sheet of mount board, spliced together to form an oversize mount. The glass was cut from a single sheet but I made sure it was exactly the right size in one dimension. A couple of mm larger and it would have required oversize glass.
The frame is made from solid ash, waxed to bring out the grain. I like using hardwood for larger frames as they provide a very strong support. A full sheet of glass, although only 2mm thick, is surprisingly heavy and something you need to protect and support correctly. Brass mirror plates were supplied for hanging.
For those of a certain age records were to be played, now it seems people have them framed. Here are a pair of records we framed this week. The boards were cut to hold the record and it’s sleeve in place without any need for any form of adhesive. Templates were designed and cut using our computerised mount cutter. Solid black core boards and a black frame were chosen by the customer.
This is a batch of frame mouldings ready to be routed and packaged up before posting out to customers. These frame lengths are are for self-assembly kits and are proving popular with artists who need inlay frames for canvases up to 40mm deep. The frames are easy to assemble and reasonably priced. Posting large frames is a problem, but with self-assembly frames the problem is over come as the customer assemble the frame and insert and fixe the canvas. The frame is assembled using a dove-tail joining system providing solid, tight mitred corners. Large sizes can be accommodated and I recently sent out a batch of frames for canvases 50 inches square.
I have a framing job in the workshop. It’s a print from the 1960’s signed by the artist and is of some value. On taking the print out of the existing frame I found the barrier board seen in the photograph below.
The barrier board sits between the print and the backing board, isolating the print to avoid acid burn from the backing board.
10 smarty points to anyone who can explain the reason for the marks on the board (answers will be posted here in a few days).