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7.FINISHES

At first glance, this section may appear considerably extended in relation to the rest of die book. It is detailed because it is the finish which will ultimately make or break the frame. No matter how well constructed, designed or decorated a frame may be, an inharmonious finish will ruin the final effect.

The sound rules of good wood finishing also apply to picture frames but unlike furniture or floors, the finishes need not be as durable. For example, a simple shellac or lacquer finish, waxed, is just as satisfactory for a natural wood frame as a carefully varnished, rubbed and oiled finish is for furniture. The rules to be observed are, have the frame free from dust, oil or grease before attempting a finish; allow every coat to dry properly before attempting further work and use good materials.

Many new materials for painted finishes are now on the market which replace ones that previously took much time to apply. The most popular for contem­porary frame finishing is the new casein water paint. Purchased in a good brand, it will be found extra­ordinarily easy to use for texturing and as a basic undercoat.

Lacquers come in varying degrees of finish from flat to gloss and of course are unsurpassed for durability and smoothness. Unfortunately, the successful employment of them depends on a spray gun and an air compressor. Literature on the operation of spray­ing equipment is plentiful and would be superfluous in this volume.

Another new development in the paint field, espe­cially useful for frame finishing, is a flat oil paint de­signed for application directly over kalsomine or casein finishes. One can do all the basic work on the frame with the fast-drying casein paint and then water-proof it with this type of oil paint.

Shellac, naturally, is a requisite for the frame fin­isher. Both the white and the orange varieties have their distinct uses and should be kept on hand. How­ever, shellac has the bad property of not drying after it has been kept for long periods of time. Therefore, only small quantities should be purchased at a time or dry shellac should be stored and dissolved in de­natured alcohol as needed.

A set of oil colors in tubes or colors ground in oil in cans together with flat white oil paint of good quality will also be necessary.

For texturing, all sorts of implements can be used, but a few steel graining combs with differently spaced teeth, old whiskbrooms and brushes will be found in­valuable.

While gilding or bronzing is being used con­siderably less than in previous years, it is well to be prepared to handle the occasional frame that requires a metallic finish. Satisfactory leaf finishes can be applied without the necessity of elaborate equip­ment although professional gilding is a skill that requires care and experience. With the substitution of other finishes because of the changed fashion in frames, it should be rarely necessary to use leaf. Direc­tions and materials for gilding will therefore be placed at the end of this section.

The following list of paints, solvents, etc., will be adequate for almost all finishing work. Only purchase them as the need for individual items arises.

White cast in paste paint
Casein deep colors: Red, Yellow, Blue, etc.
White oil paint for use over kalsomine
Flat white oil paint
White enamel
Set of oil colors
Shellac (white and orange)
Paste wax
Flatting oil
Japan drier
Water or oil stains for wood
Bronze powders
Burnish powders
Gold Compo XX
Turpentine, Linseed Oil, Alcohol, Benzine
Rabbit Skin Glue
Burnisher

After finishing a frame, the paints used and the order of their application to achieve a certain effect should be written down in a notebook kept for the purpose. Sample corners, which can be made from waste pieces when joining, should be finished and numbered to correspond with the finishes recorded in the notebook. It is extremely difficult to duplicate a finish without a great deal of wasted time and effort unless some record is kept. This does not mean that work should be stopped to make a note, but within a reasonable time after a finish has been completed it should be written down, particularly if it involves an individual technique. Some time may pass before a certain effect is needed again, but it is all too easy to forget the steps by which it was executed. Casein Water Paint:

Because it will be found to be the most useful of paints, both for smooth surfaces and for texturing, casein paint heads the list. It can be applied in a thin wash over stained wood finishes for a pickled effect or in a very heavy consistency for texturing. When a container of white casein paint is purchased, do not attempt to mix the whole can into a creamy, brushing consistency, but take out what is needed for each pro­ject, scrape down the insides of the container, level off the paint and keep it covered with a thin layer of water. If it is mixed all at once, it will eventually sink to the bottom as it stands around and will be useless in a short time. The same practice should be followed in caring for the deep colors which are used for tint­ing. Casein paint can be mixed with a small quantity of spar varnish or glycerin to induce plasticity and to retard drying while it is being textured. If glycerin is added, experiment to find just the amount which barely suits the purpose and do not add any more or the finish will not dry properly.

Casein paint, when properly applied, dries for han­dling in less than an hour and after about thirty days is reasonably waterproof. However, if a frame painted with casein becomes soiled, it is advisable to clean it with art gum or extra fine sandpaper. It is recom­mended that protective coatings be applied over casein finishes, and these are described under the in­dividual basic finishes.

After the frame has been made ready any of the finishes described in detail later can be applied suc­cessfully and with a minimum amount of effort and time.

As has been stated repeatedly, the aim of good fin­ishing is to produce frames which do not clash with the pictures. Neutral-toned finishes are advocated such as warm or cool grays. It will be discovered that a gray made with raw umber is much more adaptable to pictures generally than one made with either ivory or lamp black. Casein paint usually becomes one of two values lighter when it is dry than when wet. For this reason, it is wise when mixing colors, to allow a swatch of the paint to dry in order to be sure that it is the correct tone. In any case, it is better to err on the side of lighter values than to make the color too dark or intense.

Too strong or dark a gray, except for special pur­poses, gives an effect of drab muddiness. Try various proportions of white casein to raw umber such as 2 to 1, 3 to 1 or 4 to 1, letting each value dry thoroughly until the most suitable is found.

If it is intended to have the neutral tone lean to­wards a particular color, it is more satisfactory to use the ready-mixed basic tone as a base and add some color rather than to start with white. The resulting tone will always have a pleasing softness and avoid being too strong. The ready-mixed neutral tone may not only be employed for use as a basic color but thinned out with water in another receptacle, may be used for washes over gilt or stained finishes.

Again, bear in mind that it is a mistake to have too strong a color in any frame; that simple finishes, like simple Moldings, are better for the beginner with which to experiment. The finishes which are described in detail in this section are all designed as basic and should certainly be varied by the individual according to his taste and needs. Texturing:

The idea of putting an interesting surface on a frame through the texture of the paint used in finish­ing is a relatively modern development. Some old frames are to be found which had wide-mesh cloth like netting glued down to break the flat surface and ornaments applied on top. Today, this effect can be duplicated by using paint textured with combs or brushes. It will be much more durable and is readily refinished if damaged.

Although it is possible to buy a "plastic" oil paint, casein is infinitely preferable even if it does require an additional protective coating. The first quality for texturing which a workable paint should have is body or thickness enough to show the pattern and second, that it should remain wet long enough for experimen­tation. In order to avoid too thin a body, remove a sufficient quantity of the white casein paste from its container and stirring carefully, add only a small amount of water very slowly until it is of the con­sistency of very thick cream. A few trials on scrap wood will show whether more water or more paste needs to be added to the mixture.

If it is planned to pattern the frame with a bold texture, careful sanding will not be necessary. It is essential, however, that the frame has an even surface. First give all the frames to be textured a medium heavy coat of casein paint. Let dry and then lay out the articles to be used for texturing such as combs (either professional steel graining combs or broken pieces of ordinary hair combs), an old whiskbroom, pieces of wire brushes, a toothbrush, etc. Each one will give a distinct pattern and the more interesting the texture, the less will be the need for carved deco­ration. Perhaps it would be well to bear in mind the rule: Reduce the texture according to the amount of decoration and always keep it in relation to the size of the molding.

The scraps of molding left over from cutting or short, useless lengths are ideal for trying out ideas. One can be very original here, but first experiment with some of the textures which have already been proven excellent. While experimenting, if it is dis­covered that the heavy mixture of paint dries too fast, add a small quantity of glycerine; about 1/2 teaspoon to a pint. Only add enough to the paint so that it retains its moisture long enough to be worked. Also, do not attempt to coat or texture the entire frame at once, but complete each side separately.

For the first try, use a simple, straight combing tex­ture. Coat the piece to be textured and brush it back and forth until a heavy, even coat has been applied. Now take one of the steel combs and holding it at an angle, draw it across the molding at right angles to the wood. Place the comb as near as possible to the part just done and repeat along the whole length. This will produce a series of parallel, heavy ridges of different width depending on the size of the comb used. Since the frame must have exactly the same texture all around, some practice will be necessary before one is able to do the mitered corners success­fully as shown. Do not expect perfection on the first try. Texturing is relatively easy and it will not be long before professional work is produced. The use of parallel lines of this sort requires a fairly steady stroke and also the ability to sight at right angles across the grain of the wood.

Now, using the same straight, cross stroke, take either the toothbrush or some other stiff, flat brush about 2" wide and repeat the motion. Here, less regu­larity will be apparent and the lines will flow heavily together in some places and remain distinct in others; the variation adding life to the finish. If the same stroke is done with a small piece of wire brush, still another effect is achieved. The lines will be narrower and sharper and will also bunch up in spots, increasing interest.

The same cross stroke can be tried on a very wide or heavy molding using an old whiskbroom. A new broom can be used, but an old, worn one will give greater variation in the ridges. This texture is heavy and coarse, but is bold and well-suited to wide, simple Moldings.

The next stroke for texturing which has been found useful  and successful is the diagonal.  With the frame tilted at a comfortable working angle, start at one corner and draw the comb or brush at a 450 angle across the molding. It has been found easier on the eye to have the diagonal run from left to right, since that is the natural path of sight. When using the diagonal stroke, always continue around the entire frame so that it has an unbroken effect. Avoid having one side of the frame textured one direction and an adjacent side another. The diagonal stroke is especially good when used on frames with a convex curve be­cause the stroke, combined with the curve, gives a pleasant, rolling effect.

For the last of the straight-line textures, try a stroke running along the length of the molding. On nar­row moldings, this will completely eliminate the need for any carved decoration, but one should avoid too heavy or bold a pattern.
    
Remember that it is by no means necessary to cover the entire frame with texture. It is often extremely effective when either the inside, the outside or only one section of the profile is patterned especially if there are sharp edges to separate the parts distinctly.

After practicing all the above exercises and attain­ing some degree of proficiency, proceed to the textur­ing strokes involving the use of curved, crossed or combination strokes. Use the steel or hair combs be­cause brushes, unless the strokes are rather widely spaced, tend to obliterate the pattern underneath. Take the narrowest-toothed comb and draw diagonal lines along the length of the molding then cross them at right angles with the widest-toothed comb. It will be seen that while the lines are very prominent in one direction, a definite pattern is created by the pull of the comb last used. This will give something of a snakeskin or textile effect. When using these combinations, make sure that the paint does not dry too fast or it will not show the strokes underneath. Also try brush textures first and wide-toothed combs over them. Endless variations are possible and they will soon express one's individuality in design.

After the straight, cross textures, try some involving a simple curve or S-shape first with straight strokes underneath, crossed by curving, and then reverse the process. As mentioned, all sorts of implements can be utilized for the production of excellent patterns. The main things to keep in mind are the character of the molding, the texture necessary to harmonize with the picture and what the final finish is to be. Experiment in producing textures with sponges, cloth and other article
Textures can also be achieved by painting the frame with several rather heavy coats of casein paint and then scraping it when dry with a special tool or with sandpaper. The same rules apply as for wet texturing except that it is more difficult to correct errors. How­ever, the effects which result are worth the work entailed.

First give the frame several coats of casein and sand smooth. Take a piece of coarse (No. 2) sand­paper and using a straight, even stroke, cut the area to be textured with fine, irregular lines. When this type of texturing is finished, particularly with glazing, the depressions hold the color and the stain is wiped off the high spots which then appear lighter in tone.

As a second exercise, scratch the frame as before, but cross the scratches at right angles with long, even strokes along the length of the molding. This type of texture is only successful on very plain Moldings having large flat or curved surfaces.

As a final suggestion, use scraps of glass for the first attempts with texturing and try out every implement that may occur to one. The smooth surface of the glass makes it easy to draw the tool across and shows up the pattern readily.

While scratched and combed textures may be only faintly apparent when working with the solid color casein paint, the final treatment will bring them out boldly, so do not be apprehensive if the work appears rather flat and uninteresting at first. Texturing is not an end in itself and only has importance in regard to the final effect. Glazing, Staining or Shading:

This process has all of the above names but the one which seems most accurate in meaning is "glazing", or the spreading of a thin coat of dark color over a lighter, painted surface. It has great value in frame finishing because of its flexibility and because it can be used to produce smooth, softly-toned effects, stip­ples or wood-grains. The last named is not to be con­fused with literal copying of the grain of woods, but merely to give an over-all feeling of natural wood in any color desired.

For practical purposes, a pint or so of a neutral-color glazing mixture should always be kept on hand. Raw umber in place of black should be used for the basic mixture. Since every picture requires individual treatment, it is usually necessary to make a special mixture for each job. Therefore, pure colors can be blended with the neutral glazing base to tone it slight­ly one way or the other. Like the methods used for texturing with casein paint, glazing solutions should dry slowly enough for working properly. Do not worry about too slow a drying quality, although too much linseed oil is to be avoided. To insure hard drying in twelve hours, it is a better plan to have the undercoat sufficiently non-absorbent rather than to add linseed oil.

Glazing mixtures are composed of oil color which usually contains some white to dull the color and a mixture of three parts of glazing liquid (sold under the name of flatting oil) to one part of turpentine with linseed oil added only in the amount necessary to slow down the drying. Once mixed, it keeps quite well but must be stirred very thoroughly before using. Glazes will appear very much darker than may be desired for the final value, but wiping or graining will make them lighter.

First experiments in using glazing for finishing frames should consist of wiping with a soft cloth pad. Coat the frame evenly with the glazing mixture and let it set for a few minutes. Now fold a piece of soft cloth (like cheesecloth) into a pad and wiping along the length of frame with a light, even pressure, remove some of the thin paint. Repeat giving even lighter pressure than before until the frame is smoothly toned all over. Practice this method on scrap pieces which have been first given a good ground coat of white oil paint sanded smooth. By leaving a heavier glaze in depressions or corners, it is easy to impart an an­tique feeling to the frame.

On another prepared piece of scrap try the grain­ing method of glazing. For this a 2" FEATHER-TIP GRAINING brush will be needed. This is a thin, wide brush with flexible, but not soft, bristles. Goat the frame as before and allow it to set. Take the graining brush and with a long, steady stroke "brush" the frame, lifting it up only when the stroke has been completed. Now "brush" the frame in the other direc­tion and continue back and forth until it has reached the value desired.

Remember that the general coloring of a frame should not be too strong. While any color can be used forglazing, always add more white than pure color to the mixture. If it should so happen that too dark or strong a finish has been given to a frame, it can be remedied by rubbing very lightly with fine steel wool. This will show more of the white undercoating to make the frame lighter in value.

Without trying to imitate the natural grain of dif­ferent woods, a handsome appearing finish, resembling rare wood, is easy to achieve by the use of subtle color in the glazing mixtures. Dull yellow browns with a greenish cast or mixtures with a trace of purple give the feeling of rare, tropical woods.

After the glaze has dried thoroughly, touches of color or gold can be rubbed on the decorations or the edges of Moldings to relieve the plainness of the finish.

If a frame has been textured with casein paint and a glaze finish over it is desirable, it will be necessary to size the casein paint with a thin white oil paint or with pure white shellac so that it will not be too absorbent. Undercoats for glaze finishes require a hard, smooth surface. To achieve this quality, add ¼ pint of gloss white to every pint of flat white oil paint plus a few drops of Japan drier. Rubbed Color:

One of the most useful processes in finishing is that of rubbing accents of color or gold over flat areas, on high spots of ornaments and decorations or on the edges of frames. Any oil color can be used as well as gold compo xx (which is gold bronze paste in a tube) or aluminum paste.

To rub color, take a small piece of cloth and place it over the index finger, pulling it down snugly and holding the ends in the palm of the hand. Pick up a small amount of oil color on the tip of the covered finger and work it into the cloth by rubbing on a piece of newspaper. Now, with a very light touch, rub it over the parts of the frame which are to be accented. Rub extremely lightly at first and gradually increase the pressure until the effect desired is obtained. Charge the cloth with color as often as necessary, al­ways rubbing away the excess on newspaper to get the right value. The most useful color for this purpose is burnt sienna. Its warm, reddish-brown tone seems to harmonize well with most water color or oil paintings. When applying the color, do not attempt to make it too even because it should only be used to break up the plainness of the surface and add interest. Nor should one saturate the cloth too heavily with color, because this will make the color too dark and strong on the frame. The effect to be aimed at is one of color coming through the finish rather than of being applied on top.

Even without decoration, ornaments or texture to pull the color from the cloth, this method of rubbing on color can be used on flat surfaces, particularly the narrow top edges of certain Moldings. A pleasing, softly-rubbed appearance rather than a hard, solid line is obtained.

Gold Compo XX paste or aluminum paste can also be employed with very good results to highlight orna­ments. It dries in about an hour and needs no burnish­ing. They are rubbed on also but not in the same fashion. The bare finger is used, since the metals to be applied should give a much more solid effect than that of a color. The value of gold compo in finishing picture frames cannot be stressed too highly as the following will show.

Many attempts are made by inexperienced begin­ners to achieve an "antique" appearance on orna­mented gold frames. They are not usually successful except by accident because the method used tries to bring the gold or ground color through the basic coat after the frame has been completely covered with paint of one sort or another. The perishable quality of the gilding is rarely taken into account and is usu­ally rubbed away when some of the paint is removed, thus exposing nothing but the composition base of the ornaments. With the use of color and gold compo as described, the frame is merely cleaned, given a basic finish and then the color and gold accents are added, by disregarding the original finish, much time is saved and good results assured. Spattering:

This is one of the most helpful operations in finish­ing frames. Since the drops of paint appear to merge together at a short distance, they have the function of pulling the unevenness of the finish or the touches of color and gold into a unified whole. Spattering can be done by using a piece of wire screening and a toothbrush, or by using a small pencil brush (artist's water color brush) and tapping it on a stick after it is charged with paint. The drops of paint thrown by the latter method are less regular than those made by the wire screen and toothbrush. Furthermore, the drops can be controlled from very fine to heavy and directed almost exactly on the area to be covered.

While spattering can be done with any color, it is wise to use the neutral color of raw umber for the first trials. Because spattering is an operation which does not take long but which will be used very often, it is advisable only to mix enough for each job at a time. For the purpose, it will be found handiest to use the bottoms of empty tin cans by turning them over, al­though any small receptacle will do that can be wiped clean with waste when the work is finished. Place it in a slanting position and put about ¼teaspoon of raw umber oil color near the highest part and pour turpentine into the lower.
    
Using a pencil brush, mix only enough to charge the brush. Hold a stick in the left hand about six inches away from a piece of white paper and tap the ferrule of the brush against it with a gentle, light motion. Always make a sample of the spatter after charging the brush with paint. Observe the density or the size of the individual drops. If the effect is too faint, try tapping the brush closer to the paper. If it is still too light, the brush needs more paint. Try it again and if the drops are then too heavy or large, remove some of the paint from the brush by stroking it once on a piece of newspaper. The process may sound involved, but with a little practice it is easy to make the brush hold exactly the right amount of paint to get the correct spatter. Basic Finishes:

The following pages deal with specific basic fin­ishes which have been tried and proven successful. They are not to be followed rigidly. Natural and Stain Finishes:

Moldings used for natural or stained wood finishes must be of clear wood free from knots or sap streaks (light and dark areas). The wood will have to be well sanded and brushed very clean to remove all traces of dust.

All that is necessary for a medium gloss, natural wood finish is to give the frame one or two coats of clear white shellac. When dry, rub it down with fine steel wool and wax carefully with a good grade of paste wax.

For the occasional frame to be stained in one of the popular finishes such as oak, walnut, mahogany, etc., it is advisable to buy small quantities of pene­trating stain in those shades. However, for quantity production a range of water-soluble stain powders are preferable. Once mixed, they can be intermixed to produce any shade or color desired. Because water-stains raise the grain of the wood, it may be necessary to sand the frame lightly again before applying finish­ing coats of shellac and wax. After the stain finish is dry, proceed as for natural wood frames.

A high gloss finish, while rarely desirable, may be called for at certain times. Give the frame a coat of shellac to seal the wood. After rubbing lightly with steel wool, carefully apply a coat of spar varnish. When it has dried overnight, rub it down with wet-or-dry sandpaper, using water or oil. Then give it a finishing coat of wax.

Natural or stained wood frames are sometimes en­hanced by having an edge or some part of the molding painted with a color to repeat some note in the picture. A stripe or an edge in gold is also effective.

Natural finish:

1. Sand very smooth
2. One or two coats white shellac
3. Steel wool
4. Wax

Stained finish:

1. Sand very smooth
2. Stain
3. White shellac
4. Steel wool
5. Wax
   

Pickled Wood

This finish is easy to apply and can be of great variety in color while maintaining the feeling and appearance of natural wood. Properly applied, the finish will harmonize with any type of contemporary picture and interior. One rule only is to be observed, keep the washes as nearly white as possible. Use pure white casein in a thin solution on all but the very darkest woods. Pickled wood finishes are exceptionally durable and will not soil easily.

The frame should be made of carefully selected molding in order to have an attractive grain. After careful sanding, scratch the frame with long, even strokes along its length using No. 1½or No. 2 sand­paper. Be sure to avoid crossing the scratched lines diagonally or at right angles because the scratches will show up strongly after the wash is applied. Try not to go over the scratches more than once or the grain will tend to be obliterated. Raw oak molding does not need scratching.

First stain the frame with the desired color of wood stain and when dry coat it with clear white shellac. When the shellac has dried, rub down very lightly with fine steel wool. Give the entire frame a thin wash of white casein paint and when this has dried, rub down to expose the stained wood. The casein will remain in the scratches and the softer parts of the molding. Wax and polish for durability.

Stained Finish:

1. Sand smooth
2. Scratch with sandpaper.
3. Stain
4. Coat of white shellac
5. Steel wool
6. Casein wash
7. Steel wool
8. Wax

Natural Finish:

1. Sand smooth
2. Scratch with sandpaper.
3. Casein wash (white)
4. Steel wool
5. Wax
   

Glaze-Stained Wood

This is another natural type wood finish, except that the staining is done with the neutral mixture used for glazing over painted surfaces. It dries with a pleasing grayish tone resembling driftwood.

Sand the frame smoothly and coat with the neutral glazing mixture. Allow it to set and wipe off enough to expose the grain of wood. Add color to the mixture for special tones. Wax lightly and polish.

1. Sand smooth
2. Coat of glazing mixture
3. Wipe
4. Wax

Combination Textured and Plain Finish

First texture the inside of the frame with a straight cross stroke using a wide-toothed steel comb. Paint the frame solidly with dark, Venetian red oil paint and when dry, paint on touches of blue, green and yellow in swatches at random. After drying, give the entire frame a thin wash of neutral casein. When dry, rub with steel wool to expose the color and some of the ground coat slightly. Only rub the part which has been textured. Paint the plain outside edge with burnishing gold and burnish.

This finish will have a neutral appearance but is enlivened subtly by the color showing through.

1. Texture inside of frame
2. Coat with Venetian red oil paint
3. Paint swatches of color at random
4. Coat with neutral casein
5. Steel wool inside
6. Burnishing gold outside
7. Burnish
   

Two-Tone or Two-Color Finish

Two-tone finishes are particularly effective on frames having sharp divisions in the profile or which have only a part of the molding textured. Only two suggestions are offered herewith because the varia­tions are endless and the beginner is urged to attempt his own combinations. Besides the two tones or colors used on a frame, in certain instances it will look well to paint the top or inside edge with a contrasting color or with gold.

Texture the frame on the inside only with a diag­onal stroke. Coat the frame with white oil paint or white shellac. When dry, glaze the inside, textured area with a dark, warm brown and wipe off to expose the high spots of the texture. Glaze the outside of the frame with a light, neutral tone and grain with the graining brush, keeping the strokes running along the length of the frame. Accent with rubbed color or gold compo along the top or inside edges.

An entirely different effect can be given to the same frame by glazing the inside with a very light off-white glaze. Then paint the top and outside solidly with some color to harmonize with the picture.

1. Texture inside of frame
2. Coat of white oil paint or white shellac
3. Glaze inside with dark brown or Glaze inside with off-white
4. Glaze outside with neutral mixture or Paint top and outside edge with solid color
5. Rub color or gold on top edge

This particular finish will be found to harmonize with the majority of pictures. It is easily applied andis a good time saver.

Coat the frame solidly with white casein and when dry sand down smoothly with 1/0 or 2/0 sandpaper. Paint the frame with a coat of white oil paint (for use over calsomine) or with white shellac. When dry, apply a very thin wash of neutral color casein. Sand very lightly with 3/0 sandpaper barely enough to show the white undercoat in an uneven fashion. Be careful not to cut through to the bare wood, espe­cially on sharp edges and high spots. Rub touches of color on with a cloth wrapped over the finger. Avoid having too much color and be sure not to make it too even. Variation gives vitality to the finish. Apply touches of gold compo or aluminum paste, being sure to cover the edges or parts which catch the light. Spatter the frame with raw umber or another color.

1. Sand
2. Coat of casein
3. Sand
4. Coat of white oil paint or white shellac
5. Thin wash of neutral casein
6. Rubbed color
7. Touches of gold or silver
8. Spatter

"Antique-ing"

It may be desirable occasionally to make a frame look as "antique" or ancient as possible. Besides giv­ing it an antique finish, the molding itself can be artificially aged.

First, all sharp edges and corners are rounded un­evenly with files and sandpaper in order to make them look worn from handling. Ornaments are softened and made less distinct in form in the same way. Next, irregular patterns of tiny holes to imitate worm holes are produced by jabbing the plain parts of the molding with a scriber, an ice-pick or similar implement. All parts of the molding are also to be marred and made uneven by cutting and denting. Scratch deep lines, unevenly spaced, at right angles to the grain with a knife or other sharp tool in order to represent checks. Whatever will make the frame worn or old looking is to be used. On solid wooden Moldings, a short length of heavy chain struck at random will make interesting marks. The frame is then ready to receive any number of "antique" finishes. Antique Finish No. 1

Paint the frame with one or two coats of casein paint tinted to a light, warm gray. Rub colors into all parts of the frame, skipping the deepest depressions. Then rub raw umber over the entire frame, then yel­low ochre followed by touches of chrome yellow, Venetian red, burnt sienna, etc., until the entire frame is covered. The brighter colors should be used spar­ingly and keep all colors uneven.

Make a thin solution of burnt sienna and turpen­tine and paint it lightly and irregularly over most of the frame. Avoid too solid an effect. Now highlight the edges and ornaments with gold compo and spatter heavily.

1. Two coats warm neutral casein
2. Rub on plenty of colors
3. Irregular wash of burnt sienna and turpen­tine
4. Gold compo
5. Heavy spatter

Antique Finish No. 2

This finish will be found excellent for use with heavily-ornamented, second-hand frames since it will be found easy to apply and will produce an over-all soft effect, thus minimizing the distraction of heavy ornamentation.

Clean the frame, disregarding the original finish. Paint the frame with white casein paint followed by one coat of white oil paint for use over kalsomine. In place of the white casein, the frame can be given two coats of white oil paint. When dry, coat the frame with a thin wash of neutral casein. Using a rather wet cloth, remove a considerable amount of the wash, particularly from the edges, beading, ornaments, etc. Rub touches of color on sparingly and irregularly. Apply gold compo in the same way, making it blend into the color. Spatter heavily.

1. Clean frame
2. White casein
3. White oil paint
4. Wash of neutral casein
5. Wipe off
6. Rub on touches of color
7. Rub on gold compo
8. Spatter heavily
   

Antique Finish No. 3

The general effect of this finish is that of metal leaf although it is produced entirely through the use of paints. It is extremely useful and can be easily varied by using a differently colored undercoat, alum­inum bronze instead of gold or by giving the final wash coat a definite color tone. It can be made to harmonize with any picture very easily and is time-saving.

Give the frame two coats of Venetian red oil color containing japan drier. When thoroughly dry, paint the frame with high quality bronze paint. After dry­ing, rub the frame lightly and carefully with fine steel wool until the red undercoat begins to show through on the edges and ornaments. Dust the frame and give it one coat of clear white shellac. Next paint it with a very thin wash of neutral casein and after it dries, wipe off the edges and high spots with a wet cloth and then spatter lightly.

1. Two coats Venetian red oil paint
2. Coat of gold bronze
3. Rub down with fine steel wool
4. Thin coat of white shellac
5. Wash coat of neutral casein
6. Wipe off
7. Spatter lightly
   

Bronzing

Metallic powders in various shades of gold, alum­inum or in colors mixed with a binding medium are called bronze paints and their application is called "bronzing". In order to overcome the "radiator paint" effect which most bronze paints give, the finish is usually glazed with oil color or with a wash of casein. The process is convenient for rapid finishing, and properly handled will give handsome results.

Sand the molding very smooth and coat the frame with white shellac. Rub down with steel wool and then apply one or two coats of the bronze paint. When dry, coat with white or orange shellac. Next give the frame a coat of an oil glazing mixture and wipe off the high areas with a cloth. A thin wash of neutral casein, followed by wiping with a damp cloth, can be used instead if desired

1. Sand very smoothly
2. Shellac
3. Steel wool
4. One or two coats of bronze paint
5. White or orange shellac
6. Glaze with oil glazing mixture or Wash of neutral casein
7. Wipe off highlights
8. Spatter if desired

(Another method of bronzing giving a smoother finish is as follows: Coat the frame with gold size and allow it to become almost dry. Place the bronze powder on a piece of glass or waxed paper, and taking a folded pad of very soft cloth dip it into the powder. Now tap the charged pad lightly on the frame until it is completely covered with bronze. Shake off excess powder, shellac and proceed as above.) Burnishing

Finishes

Burnished gold will give a soft, glowing, metallic finish which is excellent for entire frames, inserts, headings, etc. After the burnishing solution has dried, it is polished with a smooth agate burnisher. Some burnishes are made of glass, but agate gives a better polish. On irregular surfaces or decorations, the bur­nisher hits only the higher places, leaving a matteffect in the depressions, thus making a pleasant contrast.

Only burnish bronze powders can be used for bur­nishing; other bronze powders merely darken when rubbed. It will also be necessary to make the follow­ing stock solution for mixing with the powder. StockSolution:

Take about one ounce of rabbit skin glue, cover with water and soak overnight. Add about one cup of water and heat in a double boiler until the glue is completely dissolved. This is the stock solution and will thicken when cool, but it will regain a fluid state on re-heating. For use with the burnish powder, dilute with water in the proportions of one part of stock solution to three parts of water. The result is called

GLUE SIZE.

To mix the burnish powder for painting, dissolve about Yi ounce of the powder in two tablespoons of alcohol and then add about ¼cup or one ounce of the glue size. Experiment with slightly different pro­portions until a mixture with good covering strength is achieved.

In order to have the burnishing mixture adhere properly to the surface to be burnished, it is necessary that a water-base finish first be applied to the molding. Use either clear glue size or casein paint.

Burnish gold will be found exceptionally useful for touching up minor damage on gilt frames.

Sand the frame smoothly and apply one coat of either clear glue size or casein paint. When dry, sand very lightly with 3/0 sandpaper. Coat the frame with the burnish gold mixture. Be sure to flow it on, other­wise it will be streaky and the brush will pick it up when overlapping. If two coats are necessary, allow the first to dry thoroughly for an hour or more. Rub beeswax on a soft cloth and wipe the frame lightly with it. Burnish with an agate or glass burnisher, rub­bing back and forth with short strokes until the entire surface that can be touched by the burnisher has been polished.

1. Sand very smoothly
2. Coat of glue size or casein paint
3. One or two coats burnish gold mixture
4. Beeswax
5. Burnish
   

Gilding

Because gilding requires experience and a good deal of proficiency to produce successful results, it is one of the phases of frame-making which is a profession in itself. Most of the larger commercial frame shops employ finishers whose only work is the laying of leaf. Its use in picture framing is becoming more and more restricted, however, in favor of the softer, more adapt­able and neutral, painted finishes.

Occasionally, part of a molding such as an inside edge, beading or a decoration will look exceptionally well when gilded with metal leaf instead of being bronzed or burnished. Metal leaf provides a crisper accent   than   the   other   two   methods   described.

Even with the gilding restricted to only one part of a frame, many frame shops now purchase their moldings pre-finished and merely cut them to size. It is debatable whether the amount of time spent in gild­ing is repaid. The largest frame houses, with the pass­ing of heavily ornamented frames, now mostly do their gilding with quick-drying gold size (adhesive for the leaf) and with metal leaf. Metal leaf is a sub­stitute for the more expensive and difficult to handle genuine gold leaf which requires an ultra-smooth sur­face and a room absolutely free from drafts. Metal leaf is easily protected from tarnishing with a thin coat of shellac.

Because of the difficulty in manipulation and the great expense, it would be extremely unwise for the beginner or the occasional frame maker to attempt gilding with genuine gold leaf. Numerous books exist on the entire subject of gilding and repetition here of so highly specialized a subject would be superflu­ous. A description of a quick method of gilding with metal or aluminum leaf (genuine silver leaf is also rarely used today), however, will be in order.

Metal or aluminum leaf is comparatively easy to ap­ply because it is much thicker than real gold leaf and therefore will not fly around at the slightest breath. All leafing requires a smooth surface to be successful. While genuine gold leaf needs at least two coats of glue size and two coats of gilders clay size, frames for metal leafing can be prepared quickly by merely coat­ing the smooth molding with two coats of shellac and rubbing it down with fine steel wool. If it is desired to have some color such as Venetian red or black show through the gold to imitate the clay size used for real gold leaf, it can be accomplished by first painting the frame with oil paint. After it has dried, it is shellacked and rubbed down as before. Gold size to hold the leaf is then applied in a thin, even coat and allowed to become almost dry. It should have a slightly tacky quality, and the fast-drying gold size will be ready for gilding about two hours after appli­cation. Be sure to cover every part of the area to be gilded with a solid coat of the size, otherwise the frame will be bare of leaf in spots. The temperature of the room must never be allowed to become too low while gilding and must be free from dust and draughts. Do not attempt to apply the leaf while the size is too wet or it will wrinkle and bunch up.

Assuming that the size has dried to the right de­gree, the frame is now ready for the application of the leaf. All leaf is packed in sheets of 25 to the pack called a "book". Metal and aluminum leaf is con­siderably larger in size than either the genuine gold or silver and is therefore doubly economical. At times, it may be easier to have the frame lie flat and at others it may be necessary to rest it in a slanting position against a stand of some sort. Now open the book of leaf carefully. It will be found that each leaf is sepa­rated by a piece of tissue paper.

Pick up the book with the thumbs on top and the index fingers beneath. Starting with the outside edge of the frame, bend the book forward and over the molding until the leaf covers the frame. Use the index  fingers to press the leaf firmly to the frame. Now, with asoft, bristle brush or with clean cotton, tamp the leaf down into the carvings or depressions. Allow the next leaf to overlap the first generously and proceed to cover the entire frame. There are bound to be bare spots or breaks. They should be covered immediately with scrap leaf and also tamped down. When the gilding has been completed, the frame will present a ragged appearance due to the over-lapping.Excess leaf can be removed in several ways; by simply rub­bing it gently with cotton or by using a soft clothes brush which has been rubbed with beeswax. Always be careful to rub with the laps and not against them. Professional gilders use a brush called a "tip" for picking up the individual leaves and "leading" them into position. It is first rubbed over the palm of the hand or the hair a few times to pick up the merest trace of oil. The oil makes the leaf adhere lightly to the tip. The tip is also used for pressing the leaf down into the depressions of the molding.

1. Sand very smoothly
2. Two coats of shellac    
3. 3.  Steel wool
4. One coat of fast-drying gold size (Any type of gold size can be made to dry faster by adding a few drops of Japan drier.)
5. Allow size to dry to the point where tackiness is barely perceptible and then gild frame with metal or aluminum leaf as described
6. Shellac metal leaf with white and aluminum leaf with orange shellac
7. Glaze with oil glaze or coat with wash of casein
8. Light spatter if desired
9. Wipe off

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