Construct your own simple picture frame
Peter Burgess begins a series of three articles about picture framing. This month he shows you how to make a simple pine frame
Agood picture frame can make a great difference to the visual impact of a painting. It acts as a bridging point between the painting and the wall, preventing the painting running into the wall and vice versa. It complements the painting, helping to enrich it and protect the painting from damage, and It creates a sort of marriage between itself and the painting. There is a theory that a good frame becomes invisible, so that the painting gets all the attention. However, it can also be a beautiful object in itself – in fact I have become so obsessed that, when in a gallery, I will often spend more time looking at the frames than the paintings!
Good places to see high-quality frames are top public galleries such as the National Gallery and the
Tate Gallery. There we can learn that effective frames can take many different forms, from elaborate classical types to modern minimal designs.
Modernist paintings do not always find themselves attached to a modern-style frame. Picasso was particularly keen on classical Spanish frames and many of his works are framed with these, either genuine antique frames or highquality reproductions. The contrast between Picasso’s inventive cubist forms and the antique-style frames proves unexpectedly effective. It must be mentioned at this point that many contemporary works today have no frame at all – but that story is beyond the scope of this article.
When looking at a frame we particularly like, it is easy to fall into the trap of thinking that we will easily remember what we have seen. However, there can be such a subtle combination of shapes, colours and textures that it is easy to forget precisely what the design consisted of, so it can be good practice to make sketches and written notes on how the frame has been put together. Nowadays most public galleries are tolerant of people taking photographs (It is very important to remember to cancel your flash). Private commercial galleries will not allow you to take photographs.
It is of course possible to buy perfectly effective commercial frames, and this is what the vast majority of artists do. However, it can be very satisfying to make your own, to make something more individual – in the shapes and forms selected and also the surface treatment and colours used.
Equipment
Timber yards and DIY stores such as B&Q and Wickes can supply a wide range of mouldings and timber battens. These are mostly in pine, although some hardwoods may be available. These can become the basis for a bespoke frame of your own design. The design can be relatively simple, or as complex as you would like, consisting of a set of different shapes brought together to make a composite construction – a type of
three-dimensional collage. When buying timber, check that the lengths are as straight as possible because wood can warp, so select the best pieces you can find. Specialist picture frame mouldings are also available from framing suppliers and these can be made from a variety of different woods like pine, ayous, ash, oak, walnut etc. Ayous, which is also known as obechi, is particularly widely used in the picture frame trade. Although technically a hardwood, it is comparatively soft and easy to work. It has a close grain and is dimensionally very stable.
To make your own frame you will need to cut some mitres. One option is to get someone to do it for you. Some frame suppliers offer a ‘chop’ service – they will cut your chosen moulding precisely to size. But for a personal bespoke frame we need to do it ourselves. Mitre guillotines are an expensive option, so unless you are going into business as a framer you are not likely to have one. Woodwork hobbyists will often have a circular saw perched on a dedicated mitre table. A much cheaper possibility is a simple wooden mitre block used in combination with a tenon saw, which can produce perfectly satisfactory results. One step up from that is a hand mitre saw like the one seen here (page 62. Mine is made by a specialist firm called Nobex.
To glue the pieces of wood together you will need to put them into clamps (sometimes called cramps). There are various types of these available. The more substantial ones, which are made from cast iron, do tend to give firmer support.
The thickness of the batten can vary according to the thickness of the painting. For a thin panel painting a thin batten will be sufficient. However, many stretched canvases have a thickness of approximately 20mm and so the batten can be a measurement closer to this, although it doesn’t have to be identical. For example, a standard size used by B&Q is 21mm – which was close enough for my purpose.
B&Q – stores nationwide www.diy.com
Lion Picture Framing Supplies Ltd
148 Garrison Street, Birimingham B9 4BN Tel 0121 773 1230 www.lionpic.co.uk Cornelissen’s art materials, including gilding supplies
105 Great Russell St, Bloomsbury, London WC1B 3RY
Tel 020 7636 1045 www.cornelissen.com
Jackson’s Art Supplies,
1 Farleigh Place, London, N16 7SX
Tel 020 7254 0077 www.jacksonsart.com
Wessex Pictures – several branches nationally www.wessexpictures.com