Woodworks by.John

This is the design that I will be talking about and sharing my technique with you. As with the majority of my work the frame is for a painting by my wife, Diane Eugster. I like to take inspiration from her work to do any carving, in this case there was a tree in her painting so leaves seemed appropriate. I want the frame to be contemporary and impressionistic so the carve needs to be subtle; not loud and gold leafed! Diane likes the viewer to discover things in her paintings and I’d like my frame to be the same. The carve is fairly low relief, around 1/8″. My goal is for the background to have some texture so that the viewer knows it was hand carved rather than made using CNC. The transition from the carved area to the rest of the frame needs to be as gradual as I can make it.

Before I talk about carving just a brief explanation of how I create my closed corner frames. They begin with 5/4, rough Basswood. Most of the time I use what I call my 15° profile so it will accommodate a stretched canvas. I lucked out on this piece of Basswood, it was actually 6/4 so my 15° profile method wasn’t needed to fit the canvas. If you’re unfamiliar with that method and are interested in it here’s a LINK to that post. After the machine work is completed I always use my bronze smooth plane to eliminate any marks left by the planer. For this profile 3/16″ beads were plowed to leave a 2″ wide area for the carving. Sight edge has a slight chamfer and is rabbeted to accept the canvas. Once the profile is complete the profile is mitered and assembled using biscuits. Frames are glued and clamped and allowed to dry overnight before any other work begins.

I use the internet to find my designs and size/modify them until they are what I’m after. After drawing them out, the pattern is glued to a piece of plastic recycled from salad containers. The pattern is then cut out with chisels that match the design as closely as possible. I note the chisels used on a separate piece of paper. The piece that is cut out can sometimes be used as well to locate any interior features like the spaces between the leaves. I want to be consistent on each corner of the frame.

What I like about making the salad container pattern is that it is reversible and can be used on both the left and right sides of the frame. It’s stiff enough to guide the pencil but also flexible enough to conform to the profile if needed. The paper you see has the design enlarged and flipped so I can annotate chisels used for either side of the frame. This takes a bit more time but well worth reducing the chance of making an error when you try to flip the design and its orientation from left to right — you can probably imagine how I figured that out!

This may seem like overkill and I don’t always find the need to do it. Since there are 4 corners and 8 hopefully similar designs it’s very easy to get confused and …. one wrong chisel cut is all it takes to mess things up! To me it’s worth the time to at least flip the pattern in a Pages program so that I have a left and right to look at, believe me; when you are bent over the bench and it’s 105° in the shop the mind gets a bit fuzzy. Sometimes I’ll write notes on the wood too. After I’ve done two of the corners most of it is in my memory but still; better safe than sorry! Without a doubt, there are some minor mistakes you make that are easy to conceal but in my experience these precautions save time and possible confusion in the long run.

The way I prefer to carve is to first outline the design with the appropriate chisel. I use a a small, 11oz. brass mallet for that initial outline. That is followed up by grounding the design out, generally I only use a #2/5 and start 1/4″ +/- from the outline. Next the chisels are used to outline again but this time only with hand pressure, going all the way around the design. On the second round of grounding out I’ll use the widest #2 , #3, or whatever will work to get the area around the design about 1/8″ deep. The reason I prefer my outlining technique over using a V-chisel is the limited space and grain changes especially by the miter. For me it’s too easy to slip with the V-chisel in tight areas, especially between leaves. Keep in mind that a picture frame; unlike carving a piece of wood that can be repositioned to accommodate grain direction, can only be accessed from the outside edge of the frame.

There’s a lot of wood that needs to be removed at the miter so using the widest chisel that fits is a wise choice. Small fishtail chisels and spoons are helpful as well. I try to get an all around depth of 1/8″. The areas between leaves require small tools, one of my favorites for that is a small Pfeil spoon gauge #2a/3 which allows me to almost “pluck” the insides out after they’re outlined. Chiseling is followed by lightly sanding with 220 grit paper. The leaves and stems are modeled, separated , etc. until I’m satisfied with the overall look of the frame. Wood is a living thing and subject to changes in how it works, cuts, smooths, etc. More often than I’d like to think it’ll happen that one side of the miter works like butter and the other side feels like it’s made of granite!

Here is the completed work. The painting is oil on stretched canvas and measures 20″ x 20″. For the finish I used Real Milk Paint from RMP Finishes. It’s a product I’ve been using for quite some time and I really like it. This is their Arabian Black topcoated with dewaxed Platinum shellac. What I like about it is that it comes in a powder so there’s no waste. Two ounces of powder, mixed with water is plenty for a frame of this size. I apply it with a foam brush and use Mirlon 1500 and 2500 pads between coats to smooth it out. The shellac is sprayed on with a mini airbrush from NoName this little gun will put down a 3″ wide pattern so is perfect for my frames. I allow the shellac to fully cure for about a week and then use a short, stipple brush and rottenstone to reduce the natural gloss of the shellac. The final step is an application of Liberon Black Bison neutral wax.

I realize this got a little bit long winded (no surprise!) but if you were able to get some information from it I’d appreciate hearing from you. Many times I’ve mentioned how my blogs serve to continue my teaching career and sharing but also to remind myself down the road the many ways I’ve conquered a challenge in my woodworking — John

Quite a few years ago I began making floater style frames for my wife’s work and wrote this blog post. Since then, I’ve made a number of them and my methods are different from most of the commercial floater frames available. My goal is to elevate the floater frame from its origin of lattice strips tacked to the sides of canvas to one that has more of a presence. Granted, as a furniture maker I tend to overbuild everything and at this point in my life I have the time to do that. The Picture Framers Grumble has been a place where I can have interactions with other frame makers and I really enjoy that. Unfortunately, here in Las Vegas there isn’t a thriving art scene. This painting is one Diane recently completed, it measures 18″ x 24″ and the frame is about 1″ wide and 2″ deep. The finish is imitation silver leaf which has been sealed Platinum shellac which was toned with French Ultramarine blue powdered pigments.

I’d like to share my process with a series of pictures to illustrate the process. I’d be interested in hearing from other framers who make their own frames and moldings. Basswood begins with 5/4 stock which I try to get at least 7″ wide. A combination of hand planes and a power planer will yield material that is about 1 1/16″ to 1 1/8″ in thickness. I hand plane every surface of the boards after cutting them to rough length and finished width. For this profile I wanted a slight chamfer on the edge which was cut with a low angle block plane.

To support the painting I cut a 1/4″ groove on the inside of the piece about 1″ from the top surface. Plywood (1/4″ thick) is eventually glued into it to support the painting and strengthen the corners. The corners are strengthened further with a face frame sized biscuit. Miters are cut using my shop made jig on the tablesaw and the frame is glued and clamped overnight. In the clamped picture you’ll notice a spring clamp in each corner; there is another piece of plywood on the backside to strengthen that — I know: overkill!

I keep projects glued up over night and check for any misalignment, glue, scratches, etc. before starting the finish process — it is so easy to miss them; don’t ask me how I know!

The first step to the finish process is to use Zinsser Seal Coat shellac on every surface. Once dry I lightly sand with 400 grit paper. Next up is taping off the top edge to apply a flat black paint to the inside of the frame. I tape down about 1/2″ from the top and use latex simply because it’s easy to clean up. Once that’s dry, the black areas are taped off so that the gray burnisher/sealer can be applied. Prior to applying the slow set size the frame is buffed with 4/0 oil free steel wool. In my experience, whenever an area is taped off for gilding it’s best to press the taped area down firmly and remove the tape right after gilding. I used to wait until the size was completely set (24 hours or so) but that could result in a jagged edge. By carefully pulling the tape off before the size has set I find that any leaf that wants to rip off can usually be pressed down while slowly pulling the tape off.

Imitation silver leaf always needs to be sealed to prevent it from tarnishing, my preference for that is Platinum Blonde shellac made from flakes. Since the paintings for both of these frames have a blue palette the shellac was tinted with French Ultramarine Blue dry pigments. To tone down the garishness of the silver leaf it was lightly buffed with 4/0 steel wool prior to airbrushing on the shellac, you can see the difference it makes in the left photo. After the toning was dry, cotton pads and Liberon clear Black Bison wax was used to rub out the shellac and add a slight sheen.

The final step of course is to install the artwork. Holes are located and drilled through the plywood using a 1/4″ forstner bit. I’ve found that the forstner leaves a clean hole which allows for any slight adjustments. Number 6 screws with washers are used, the hole size allows for slight adjustment. My process is to use spacers to center the painting and then locate the holes from underneath the frame. They are pre-drilled with a gimlet and the art is attached with the screws, snug at first to allow any adjustments in case the painting is slightly out of square; this does happen sometimes! One thing I like about the depth of the frame pieces is that the D-ring can be installed so that it isn’t visible from the side. In the picture showing the back view you can see the gusset that is glued into each corner.

So there it is, my process for floater frames which I’m happy with as is my wife and her gallery. Are there any other frame makers that use a similar process? Like I said earlier, Las Vegas doesn’t have a thriving art scene so there are few that I can share frame making with.