hand finished frames

[grahamg]

Hi all,

I was wondering if any of you lovely people had any recommendations for books / websites on hand finished framing techniques? I've slowly (!!) taught myself to water-gild, and now want to start doing more creative things, but can't find an enormous amount out there. There's a couple of styles that seem popular amongst framers, such as gilded frames that seem to have a gesso-style wash applied on top of the gilding (or else it's gilding on white gesso, no bole, and vigorously rubbed back) and also frames that are hand painted with small areas only of gilding, and I'd like to try them out.

If anyone has any tips / tricks / can point me in the right direction, it would be much appreciated!

Thanks,

Graham

[prospero]

Well most of the frames I do nowadays are HF. Rather a large subject. Basically you can do whatever you like and the only rule is that the finish should not rub off/drop off at a later date.

I hardly ever use leaf for gilding. Over the years I have evolved a system of sorts using gold powder bound in varnish. Used to use Liberon gilt varnish, but as they seem to have discontinued the nice colours in tins I took to mixing my own.

For paint effects, artist quality acrylics are the thing.

You are right in saying there aren't many reference books on the subject. A few little mentions in various framing books, but I don't know of any comprehensive instruction books. It's a bit of a dark art and people tend to find their own methods.

90% of it is sandpapering anyway.

[framemaker]

Hi Graham,
There is very little step by step info on the frame finishes you mention, the best way is just look at what others are doing and try and replicate. Picture Framing Magazine sometimes has articles on gilding and finishing.
On the frames with some gilding and hand painted bits, I do the gilding first, then apply a coat of quick drying acrylic primer undercoat, then a couple of coats of water based like Farrow & Ball or Little Greene (or whatever you've got on the shelf!), then I put liming wax on the paint and brush on some dry pigments. Or you could do a couple of coats of paint then a few washes of watered down paint before finishing with some wax or sealer. There are loads of different ways, just depends how much time you have to experiment with different ideas.

[grahamg]

Thanks very much,

I already use plaka casein paint to finish the edges of my frames, so might experiment a bit more with that, although I rather like the idea of the raw pigments as well.

Prospero, would you ever share your recipe for gold powder bound in varnish, or is it a closely guarded secret? It sounds very interesting, and another thing I want to try is bronze powders, so it sounds similar.

Thanks again for your help!

Graham

[standenfineart]

First up read and inwardly digest everything posted here by framemaker and particularly Richard's framemaker blog

You might also try Pete Bingham's Everest leaflet posted in the 'Lion - Know How' section:

http://www.lionpic.co.uk/InfoStore/Info ... docid=3148

Other Pete Bingham examples can be found in his instructional framing books which are readily available.

Other favourites of mine are:

Picture Framing - Edward Landon

Framing Pictures - JT Burns

(I am particularly fond of this for the framing content but also for the man and I am lucky enough to have a Terry Burns frame at home).

This is just a personal selection and there is no intention to slight other contributors not listed here.

Hope this will spark some ideas for you. Ian.

[Sam]

I do a bit of HF myself ( Pete Bingham taught me how to do it). I've found that the best method for doing it is by having a play around with the paints and wax's.

I use a mixture of Everest, Liberon, Lion Liquid Metal, Dulux etc and Car spray paint.

Most of the frames that I HF are usually stippled,sponged or paint and rubbed down for a distressed finish.

Just make a note of what works and what doesn't so that you can repeat the successful ones.

But most of all have fun doing it.

[Not your average framer]

Hand finishing is a major activity in my business. While books can help to point your in the right direction when you are getting started, technique and judgement are two things which you develop as you go along. Some finishes are highly dependant upon the qualities of types of wood used for the mouldings and the degree of time and effort required to produce a particular finish may be influenced by the type of wood used.

Apart from considering the various finishing materials, your choice of mouldings is something well worth spending time considering. Important issues are price, which mouldings can be stacked together to seamlessly produce easy to finish larger profiles at a cost which is favourable to creating a worthwhile mark-up. Also assembly techniques and adhesives for stacking mouldings.

Do not limit yourself to just the usual acrylic based paints, as different types of paints can be used to produce a variety of effects and finishes. While it is easy to create blistered and peeling effects with acrylic paints, the non-polymer based paints can form part of a recipe for paints which can be made to crack and craze.

Don't be afraid to experiment. I mix a lot of my own paints and finishes, most start with a particular paint with other ingredients added. A lot of good things are learnt from good ideas, which go wrong and result in an unexpected, but wonderful discovery.

Alway look out for items of inspiration while you are out and about. I collect books, leaflets, and product data sheets and information on all manner of paints, finishes, paint additives, paint chemistry, chemical processes, etc. Learn all you can about as much as possible with relevence to what you want to achieve. One day such information, together with the experience you gain along the way, will start making creative connections in your imagination.

[grahamg]

Thanks again to all of you. It's good in a way to hear there's no 'right' way of doing it! My only worry is doing something which will then peel off over time which wouldn't be good, but from now on I'll be trying out all sorts of things...

One technique I once saw a description of was sand gilt, which I assume is gilding over sand to create a subtle texture, but haven't found any other mention of it - don't suppose it's one anyone's come across before?

Thanks again - all your help is much appreciated

Graham

[framemaker]

I have not seen many contemporary frames with sanded gilding or sand texture, it was used alot on antique frames, such as the Louis styles (especially XIV and XV frames), proper 'Hogarth' frames (pearwood with a gilded sanded slip and carved sight edge), Kent or Palladian frames (a flat sanded section with offset corners), to name a few.

Pete Bingham's book has a brief section on effects in gesso. I really think you could use anything that adds texture to the surface. Glue some linen or material on the frame and gesso over that, use a comb to create straight or curved lines, sprinkle some sand or grit into wet gesso, anything that works!

As for the technique of making a sanded frieze, not sure how they used to do it, maybe mix the sand in the gesso and then brush it on, or maybe it is sprinkled on some gesso or glue.

[grahamg]

Thanks Richard,

I'll try it out one of these days, presumably it will be difficult to use leaf on a sand finish though, as it will tear - maybe powder, (which I've never tried) would work.

Great blog btw - very very useful and lovely frames!

Graham