The Framers Forum

Thought I would do a step-by-step of one of my frames. I make alot of frames like this, I don't often use corner decoration on them though, so this one was a little different from the normal stuff.

I am amazed that one of the suppliers like Ashworth and Thompson, Simons, or Arqadia do not offer a pre-finished moulding range in this style (without the corner decoration). It would only need to be 2 sizes of a scooped/moulded profile with 2 or 3 variations on the colour of the scoop and sides. Just two gilded sections with the scoop and sides painted in very neutral colours. I sell loads of this style, often people want a pre-finished version due to costs, but there is nothing available like it! The only company I know about, ever to do anything close is Renaissance. Given the huge selection of moulding finishes surely it would not be difficult to replicate this style! Suppliers, framers, and the public are missing out I think.

The frame is Rose & Hollis A160, once it is joined the mitres are filled and it is sanded all over. Then a 'size' coat of glue is brushed on. Next day 7 coats of gesso are brushed on, this is left for a day or two and then the gesso is sanded smooth. An alternative to the first stages would be to use a pre gessoed moulding. Next 5 coats of red bole are painted on the parts to be gilded.

Then some corner leaves are moulded in two part epoxy putty and glued into the corners. This stuff is a good alternative to traditional compo, its easy to mould and comes out easy with some release spray and can be shaped to the profile without damage to the detail. The inner and outer section are then water gilded, the inner hollow sight edge and all of the outer section are burnished.

Next day the gilding is masked off using removable magic tape, and everything is given a coat of quick drying acrylic/primer undercoat. Then comes the various paint layers, washes, and pigments which are applied over a couple of days:

Hay solid base coat No. 37
Lime white wash No. 1
Cats paw wash No. 240
Light gray wash No. 17
Liming wax on scoop and sides (wiped straight off)
Warm ochre dry pigment (pigments are just brushed on)
Raw sienna light dry pigment
Everest grey pigment
Light rottenstone

That will do for now, next comes the gilding of the corner leaves and finishing off.

Wow we want more.

Never done any guilding but on question how do you go from the guilded leaf to the bole showing through?

Can't wait for the next instalment Richard, just out of interest what type of Farrow/Ball paint is that you are using there and is it more econmical for this type of bespoke work to buy the sample pots of pain?? sorry paint......
Rob

To get the bole showing through you distress the leaf, easiest way is to use 0000 wire wool. You can also use abrasives like rottenstone or pumice powder, or even a slightly damp cloth. All give a different look. Some people find the wire wool a little harsh looking, but I like it myself.

The F&B paint is the standard estate emulsion, a sample pot will do a few frames, so not really a great expense. There are about 6-8 colours I use regularly, so these I buy in the usual 2.5L size.

After all the painting and thinned washes of paint are slapped on, the magic tape is removed. Then the liming wax is brushed on and wiped off, immediately after this the dry pigments are simply brushed round the frame, this adds to the colouring effect, creating a distressed/layered paint effect. The magic tape used to peel away cleanly, but it now seems to leave some gum residue on the gilding. This can be removed carefully with white spirit, this also tidies up any liming wax that got on the gilding.

In the next photo I have just painted the tips and high points of the corner leaf with 1 hour gold size. The time (1hr) refers to roughly how long the size takes to set before you can put the gold on.

Nice Work Richard.

I agree about the mouldings. There seems to be any amount of weird and wonderful pre-finished stuff, but try and find a traditional moulding such as you describe isn't easy if not impossible.

Must admit I never leaf frames. 12 coats?

Beautiful finish Richard, Loved it!

Cheers guys, glad you like
Yes Prospero 12 coats (and all the other stages!) is a lot of preparation work, but people seem willing to pay for it

When the gold size has reached the right state of dryness and is tacky like sellotape the gold leaf is just put on and brushed gently, it will stick to the size and the excess is just brushed away. The frame was also fitted with a flat water gilded slip. The slip was a pre gessoed moulding from Frinton/Wessex, it was just painted with bole and then gilded. The last job was to give the whole frame a couple of coats of Lascaux UV protect spray varnish.

Here is the painting in the finished frame. Total time spent was around 7 hours, spread over about 10 days. moulding cost £32 Gold £30 other material costs about £20

Customer price £595

Fabulous work Richard. Thank-you for sharing the process in such detail.

Beautiful Job Richard.

And so harmonious with the painting.

Be interested to hear you impressions on my errrrrr.... 'faux' leafing technique. I've just done a posh certificate frame with did it by rubbing down a finished moulding and gilding it with gold powder. I know I can't get the depth of real water-gilding, but I think the general look is quite classy.

I'll post a pic later.........

I do a fair bit of powder gilding as well, and have seen examples over the years (maybe by you Prospero ), which look very similar to distressed and aged gold leaf/water gilding.

The more methods and ideas shared the better, in my opinion!

That looks great Richard. I was interested to see how long it took, so effectively for a days work ( I know it was spread over ten) you made a very handsome profit . One of those a day would be nice .

This was made from and old frame I had kicking about, plus a bit of fig '4' box moulding on it's back for the fillet.

it was originally gold, but I rubbed it down and powder gilded it. It was a 'mates rate' job, so I didn't spend too much time on it.

The leaf lines are more akin to oil gilding. I think they give it a certain visual appeal compared with just a flat gold.

I don't know who designed the layout for the MBE certificates, but he certainly wasn't a framer.

Looks great Peter!

I agree, the leaf joins definitely add to the visual appeal, and replicate distressed oil gilding well. How did you distress it and get the join lines effect?

I scrubbed on a layer of gold first. This gives the patchy effect. Then just laid a strip of masking tape across and scrubbed up against it. When it was dry, I went over it again to soften the joins a tad. Buff up with a yellow duster and bingo.

Sometime I texture the undercoat by slapping it sideways with the brush. I you do it just right, when you distress the surface after gilding, you get that nice filigree leaf creasing effect. Or something like it.

There are times I realise I still have a lot to learn. Absolutely gorgeous. Love your work.

David.