Gilding

Gilding Frames

1. Paint the frame with the acrylic bole. This will prime the surface so that you can apply the gold leaf. Do not make the primer coat so thick you lose details of the frame, but if you like you can use the primer to fill cracks or coat over rough patches

2. Allow the primer to dry for at least 2 hours. Keep the picture in a warm, dry place and avoid touching it because your fingerprints will show up through the gold leaf

3. Coat the frame with the gold size. The gold size is a special glue for gilding. It will go on clear, but it will begin to turn white in 2 to 10 minutes. As soon as it gets cloudy, you are ready to gild.

4. Gild the frame. Lay pieces of gold leaf flat against the frame. You should overlap them slightly. It is okay to have pieces that extend off the frame because you can trim them later.

5. Use the brushes to fix the gold leaf to the frame. The large brush will smooth the gold leaf into place. The small brush will enable you to bring out details in the frame. Brush gently to flatten down the gold leaf, and then use the soft brush to bring out the finer details.

6. Trim off any excess gilded leaf. Use the scissors to cut off extra pieces of gold leaf, hanging off the edges. Be gentle so that you do not tear the gold leaf.

7. Shellac the entire frame. This will prevent the gold leaf from tarnishing or tearing over time. Once it has dried, you will be ready to do anything you want with your bright and shiny new frame.

Check out Video One and Video Two

Glass Cutting

Types of Glass

Acrylic

1. Acrylic material is not as prone to breaking, however, it is easier to scratch then most glass

2. This material is also know at Plexiglas

3. This also holds a static charge and could result in lost medium on artworks (such as with graphite that can be lifted off through the static pull)

Glass

1. Glass has a green tint to it and becomes more visible as the glass gets thicker

2. Many glasses contain lead

3. The basic glass that you can buy is cheaper than the other material

Anti-reflective

1. This glass is dimpled on one side. This works to reduce the reflections that easily show up on a glass surface.

2. A disadvantage of this id the slight blurring of the artwork.

Museum Glass

1. This type of glass is very expensive

2. It comes with a backed-on surface

3. A downside to this glass is the ability it has to scratch easily

4. An advantage is the protective UV filters that are present to preserve the artwork

Laminated Glass

1. This is the most expensive glass available for artwork

2. Masking tape can damage the glass

3. If shipping, use packaging tape

Cutting the Glass

1. Clean the surface, but only along where you plan to score. Any grime or silica (the substance that makes two pieces of glass slide on top of each other to prevent scratching) will ruin your score and make you think you cannot cut properly. Just run your finger along the surface of the glass where you plan to score.

2. Obtain a glass cutter and some light oil. You can buy cutting oil at a stained glass store or use a small amount of kerosene. Dip the cutter in the oil before you score the glass. An oiled cutter creates a smoother score line.

3. Grasp your cutter like a pencil. Make sure to look at the wheel and its orientation to the glass and align it properly. This is a very simple grasp to achieve, so do not unduly complicate it.

4. Use a scrap piece of glass to practice on. Apply pressure to the glass as you pull the cutter along the surface, rolling on the small carbide wheel. The score must run from one edge of the glass to the other edge. Listen for a smooth sound like ripping silk. A gritty sound means that you are pushing too hard or that you did not oil your cutter. The less sound you make, the better your score will be. If you push too hard (a very common mistake), your cut gets "hot", meaning that it snaps and pops. Try it and you'll see. You are aiming to get a uniform score. If you are pressing too hard in one spot and perfectly in another, the glass will not break the way that you want it to. Microscopic imperfections in your score will cause your cut to go askew.

5. Score along a straight edge. Use a yardstick (meter ruler) or a normal desk ruler. Use something that has a high enough profile so that it won't conflict with the wheel on the cutter, as would a ruler with a thin metal edge.

6. Practice on scrap glass until you're ready for the real thing. You'll have a score that is not popping and is barely visible if you were to wipe the oil away. It should look like a small scratch, that's all, nothing more.

7. Grasp each side of the cut as if you were trying to break a potato chip in half with two hands. All it takes is minor pressure. It is all in the wrist action. Your elbows do not move. Simply twist your wrists (your right wrist will turn clockwise and your left will turn counterclockwise). Imagine that the score you made is half the depth of the glass and now you need to "open it up" by using the score as a weak spot.

Notes on Glass Cutting - It may simply start as a "run." A run is where the glass is starting to break along your score. It may also run the entire length of your score. Either is fine. If it only runs an inch (2.5 cm) or so, apply a little more twisting pressure and it will continue to run. You're done as soon as you have two pieces of glass instead of the one you started with.

8. Use fine sandpaper or even better, a sharpening stone, to remove the sharp edge. This edge will be where the vertical edge meets the horizontal surfaces. Not only does sanding reduce the chances of your being cut but sanded glass is less likely to chip along the edges and has some added strength.

More Notes on Glass Cutting - If you have cut drywall, tile, wood shims, acrylic, or Plexiglas, remember that they all follow the same theory. Make a weak spot, or an imperfection, along your surface and break it along the weakened line.

Pliers

There are two types of pliers that are commonly used in glass cutting

1. Nibblers

a. Smooth jaw pliers

b. Used for removing very small areas

c. Can remove about ¼ of an inch from an edge

2. Running Pliers

a. These are used for most breaks

!Caution!

After cutting glass, ensure you don’t rub your eyes without first removing the glass shards from your hands.

Glass Cutting Machine

1. Cuts top to bottom

2. Can only be used to cut straight lines

3. Used by pulling trigger back and raising the unit to the top

4. After pulling the unit up to the top, release the trigger and slide it to the bottom

Cleaning Glass/Assembly

1. To clean glass use water and a micro-fiber cloth

2. Stay away from ammonia – it causes damage

3. When cleaning, finish one side then place it clean side down on the artwork

4. Finish by cleaning the other side

5. Then place frame over the top of the glass and matte

6. Slide it to the edge of the table and pick it up/flip it over

7. Fasten in matte and glass with shooter

8. Apply dust cover

a. Dust covers help control humidity

b. Adds to the overall appearance

9. Add D-rings to back of frame

a. Ensure sides are even

10. Cut wire so it is three time the length of the frame

11. Use crows knot in wrapping the wire

Planks

Measuring Planks

Measure your planks so that the outside edge reaches the edge of the panel. You want the cradle to be flush with those edges for maximum support. If you want to recess the cradle a little so it is less visible when you hang the painting that is fine, but the more recessed the more likely the panel can bend eventually. Some artists who work on thin panels like the look of the painting being suspended off the wall that a recessed cradle gives.

Cutting the Planks

Cut the planks at 45 degree angles and join them in a rectangle with wood joiners. Attach the cradle to the back of the panel with wood glue or screws. If you use screws, insert them from the panel side and countersink them, then add some wood dough to cover the holes. This method works better if you are stretching canvas over the panel, as the wood dough filler can fall out in time, taking a piece of your painting with it. If the panel is over 30 inches in any direction, place crossbeams in the cradle. Cut them to the interior dimensions of the cradle, and space them evenly, either in the center of the cradle, or for larger panels from 18 to 24 inches apart. Use a lap joint where the crossbeams meet, and attach them to the rest of the cradle with wood joiners.

Notes on Cradles – To achieve a smooth, consistent edge around the cradle, make the board larger than the cradle and use a router to clean up the edges.

Selecting Lumber

Selecting Lumber

Start with good quality, straight and level lumber. It's better to custom select it at the lumber yard, as there are differences in the stock. Using 1 x 3 for anything up to the 3-foot or 4-foot range is desirable. For larger pieces, 1 x 4 is better, and for smaller you can use 1 x 2 or even 1 x 1 if the panel is under 1 foot in each direction. It's important to build cradles for larger works, but even for small pieces a cradle can be helpful--the risk of bowing may be less in the small pieces but the cradle provides a good hanging mechanism.

Cradles

Cradles

Wooden cradles are used in painting to support a flat panel that is painted on, either directly or with canvas stretched over it. The cradle is constructed of wooden planks attached with mitered joints, very much like a stretcher, and either glued or screwed into the back of the panel. The cradle keeps the panel from bowing, which will happen to any panel over time, whether it's expensive birch plywood, Masonite, MDF or other composite.

Frame Scale

Frame Scale

1. When using the frame scale – keep the following things in mind.

a. Always place the top of the molding Up

b. The rabbit of the molding should be facing you as you makes the cuts

c. Ensure the correct blade is in the saw

d. After making the cut, it is best to wait for the blade to stop moving before lifting the saw up through the molding

e. Keep in mind to check that the cuts will be made at the desired angle before cutting

f. It is best to measure two or three times before cutting to ensure the desired length will be achieved

Notes on Framing – When putting together frames, it is best to attach one long side to one short side and then repeat this for the other long and short. Doing this will decrease the possibility for mistakenly attaching the wrong sides together.

Moldings

Molding Info

1. Most of the moldings will come in either 8-10 foot lengths.

2. This is true unless you ordered “chopped” moldings. These will come in 3 to 8 foot pieces. These pieces are also known as scrap cuts.

3. MDF – this is a good molding with no grains (made from sawdust)

Sizing

1. To get the length of the molding that you will need, follow the formula listed below using the following key –

a. A = Side A, or the length of the artwork

b. B = Side B, or the width of the artwork

c. C = The width of the molding that was chosen (i.e. ½, ¼, 2in, 4in, etc.)

2. Formula – 2(A+B+(4C)) or 2(A+(2C)+B+(2C))

3. This formula will give the total for the molding needed.

4. Keep in mind the lengths of the molding and plan for it. Example being if you have a 6ft x 6ft frame, you will not need to order 24ft of molding, you will need to order in the 8 or 10ft segments – so you will need to order 32ft or 40ft.

Mounting Artworks

Mounting Tabs

1. When using mounting strips, do not place strips directly next to the artwork. There should be space provided for the expansion and contraction caused by the changed in humidity and temperature.

2. Mounting strips on the bottom of the work should be place in a way to allow the art to rest upon it in the proper location in the matte.

3. The plastic tabs may be cut shorter to accommodate the size of the art.

Mounting Strips

1. Mounting strips should be folded in the following way –

2. The artwork will be inserted into the small fold as indicated –

3. Additional mounting strips will be added through cuts placed along the red line in t

he following picture –

4. The following is the layout of the mounting strips around the art when finished –

5. After ensuring the art will be properly showing through the matte, secure the ends of the mounting strips with non-acidic tape. Pattern it after the following layout –

Pendulum Mounts

1. The purpose for the pendulum mount is to allow give. This means the mount is designed to rip rather than the artwork in the event the piece is dropped or receives any other type of shock.

To make the mount do the following -

a. Make a fold in the paper at the width of ½ to 5/8^th inch in thickness.

b. Use a thin, wet brush and follow down the crease of the paper.

c. Tear the paper at the crease.

d. This method will create a feathery edge along the sides of the paper strips.

e. The feathery edges will add strength to the join when glue is applied.

f. When applying glue, use blotter paper and a dry brush.

g. It is best to practice using the glue on a similar material before applying the glue to the art work.

h. If the glue is not applied well enough, the art will fall

i. If the glue is too wet, the dampness will cause wrinkles in the work.

j. After applying the glue, use the blotter paper to absorb the excess moisture from the joint.

k. The blotter paper should be flipped every minute or two for about fifteen minutes.

Notes about Glues—Starch pastes are very good to use. It is strong and non-acidic. For these reasons it is safer than other types of glue. One of the disadvantages of the starch pastes is the need for it to be cooked before it can be ready for use. Another disadvantage is that the starch pastes have a relatively short shelf life of about a week of refrigerated and about a week if kept cool. This method has been used for hundreds of years because wheat starch paste creates a very strong bond that doesn't degrade with time. It is easily reversible with a dampened Q-tip

without damage to the art, even after decades. Hinging with wheat starch paste is very easy to do, and the results are well worth the extra effort.

Methocydlylose is another type of glue that can be used for mounting artwork. It comes in a powder form and makes a good glue but is not the best that can be used. One of the advantages of the methocydlylose is that it will not go bad when stored.

Notes on Mulberry Paper–Mulberry paper is also known as Japanese rice paper. It comes in a variety of types and weights. It works well for hanging artwork for many reasons. The size and the heaviness will determine the amount of shock the Mulberry paper strips are able to endure before ripping occurs.

l. After applying the strips to the artwork – attach the mounting strips to the backboard using the following example –

Float Mounts

1. To build a float mount, start by measuring about ¼ of an inch down from the place where the artwork will be sitting.

2. Mark the edges of the artwork with posted notes on all sides and corners.

3. Remove the artwork but leave behind posted notes.

4. Measure in about ½ of an inch and draw a straight line. This will be where you make your cuts.

5. With the rice paper hinges in place on the artwork, use these to indicate where on the line you will need to make your cuts using a razor blade.

6. Make your cuts longer than the width of the paper strips.

7. Also ensure the distance between the top and the bottom of the cuts are about 1/8 inch apart.

8. This distance is best done by making two cuts along the line that are 1/8 inch apart and then cutting at the ends to remove the block.

9. The hinges will be placed through these holes and the tabs will be glued down and secured with

“T” joints.

Pedestal Mounts

For the joints used with a pedestal mount, make them after the patterns listed above and then follow this outline –

Some Notes on Hinges - Try this quick test to see how important hinge strength is. Stick a piece of tape on the edge of a table and pull on the end of the tape straight out from the table. This is the “shear” mode, and it is very strong. Now fold the tape back over on itself and pull towards the center of the table. This is the “peel” mode, and it is very weak. Little rings of any tape squished between the art and the backing are in the ”peel” mode and will fail very easily. A pendant hinge is very strong because to overcome the bond you must “shear” the whole bond at once. A V hinge is set up in the “peel” mode and the bond is easily overcome. If you use V hinges at just the top of the art, any movement of the art, either up or down, will peel the hinges.

If you put two or more hinges on a watercolor and T them close to the edge of the watercolor, it will most likely cause buckling between the hinges with changes in humidity.

The simple answer is to T only one of the top (primary) hinges close to the edge of the watercolor and put the T's at the very tips of all the rest of the primary pendant hinges. This one close T will keep the watercolor aligned with the mat, left and right, while all the rest of the T’s at the top will have gravity helping to hold the art level. These long T'd pendant hinges will swing back and forth as the watercolor expands and contracts with changes in humidity. The chances of buckling between hinges is now greatly reduced.

When you have pendant hinges (shear) just at the top of a watercolor and someone picks up the frame and turns it sideways, the weight of the watercolor will swing downward and peel the hinge that is now near the bottom. This is the cause of most hinge failures, especially during shipping.

The answer to this is what I call Safety Hinges at the bottom (and sometimes even the sides) of the watercolor. These should be T'd way out at the tips of the pendant hinges with a little slack to allow for the expansion and contraction of the watercolor with changes in humidity. When the watercolor is turned sideways or upside down, all the safety hinges at the sides and bottom go into action and keep the primary top hinges from peeling.

Mattes

How to Cut a Matte

1. Decide how much of a mat border you want to leave around the art. As a general rule, leave at least 3 inches on the sides and top and 4 inches on the bottom.

2. Calculate how much art you want to show through the window. For example, if you are framing a photograph that is 5 inches by 8 inches, you could cut a 6-inch-by-9-inch window and reveal the edge of the photo (and a 1/2-inch border all around) - or, you could cut a 4-inch-by-7-inch window and "crop" the photo.

3. "Float" a small piece on a large mat - revealing the entire piece of paper plus a border - for a very dramatic look. This works particularly well for art that bleeds off the edge of the paper.

4. Cut a piece of mat board to fit your picture frame. Measure the interior of the frame and mark these dimensions on the back of your mat.

5. Measure and mark the back of the mat, drawing the window that you'll cut out.

6. Cut the window from the back using your mat cutter. Place the straightedge along one of the lines, hold it steady and run the cutter down the edge.

7. Make sure the bevel is slanted out away from the window you are cutting so that the bevel will be visible from the "right" side of the mat.

8. Stop right at the window's corner so you don't overshoot.

9. Finish the cut with a razor if necessary.

Notes on Matte Cutting

1. It is best to leave about ¼ of an inch more at the bottom of the matte to avoid the optical illusion of the picture sitting low in the frame.

Matte Info

Decorative Mattes

o Acidic, made from wood pulp, not the best for matting

o Ok for prints, reproductions, but nothing of value

o Burns artwork, fades, turns yellow

o Is much cheaper

Conservation Board

o Colored in small variety

o 100% cotton – safe for artwork

o Most expensive mattes with colored faces

Museum Board

o Same color all through the board

o 100% cotton

o Non-acidic

o Long lasting

o Best for preserving artwork

More about Matte Cutting, see this Demo

How to make Fabric Mattes

1. Using a ruler and marking pen, draw around mat onto fabric adding about 1/4" on each side. Draw an "X" (from corner to corner) on the fabric that peeks out from the center of the mat.

2. Cut out fabric along the lines you've drawn including, the center "X".

3. Brush or roll a thin layer of glue (PVA) over the mat front. Center fabric over mat, and smooth over with fingers.

a. Fabric can be added to the matte while the glue is wet, or to avoid glue bleeding though, wait until the PVA glue is dry and then iron the fabric onto matte board.

4. Flip mat over. Fold center pieces of fabric over through the center and over the mat back. Cut excess fabric and glue down.

5. Fold the fabric edge over the mat back; glue down. Let dry.

Notes on Fabric Mattes

1. Avoid letting fabric touch the art work – to do this you could –

a. “float” the art work so it avoids contact

b. Place a liner (transfer paper) between the fabric and art

c. Best to use pH neutral fabric

d. If using silk, glue can bleed through easily

e. Wash and iron fabric before use

f. Unbleached muslin is the best

How to make a French Matte

1. When creating a French matte, one can use either inks, paints, or a combination of the two.

2. When using a wire tip pen, ensure the tip stays clean from buildup.

3. Take off the area that you will not be painting but ensure that you only press the tape lightly to ensure that matte does not get damaged when removing the tape

4. Create the desired design using sponges, shaped erasers, brushes, etc.

Notes on French Mattes

1. It is always a good idea to practice your matting design before applying the design to your actual matte for your artwork.

Extra Notes

1. When planning a French Mat, do not be confused by individual colors found in the picture. Do not make water colored band yellow simply because there happens to be a spot of yellow in the picture.

2. The colors used in the French Mat are proportionate to their appearance in the picture. Therefore, a picture that is predominantly green is going to look best with a French Mat that has light green water colored band.

3. Picture framers have different ideas as to the use of color. However, whatever color is used for the major water colored panel should not be of greater intensity than the color it is repeating in the picture.

4. French Matting is an embellishment to a work of art. It can increase the value of the artwork and compensate for the time used in creating it. Properly used, it will never detract from paper-borne art.

See some examples of French Mattes Here