16. ADDITIONAL NOTES

TOOLS AND EQUIPMENT Miter Vise

Asmall, efficient and inex­pensive MITER VISE for joining frames is now avail­able. It will hold any average size molding securely for fastening and is especially useful for very small frames.

Point-setter

An automatic POINT-SETTER works like a staple gun. It drives diamond-shaped POINTS and makes the work of assembling pictures quick and easy. The point is driven half its length into the molding. The tool comes in two sizes and its trade name is "Point-master.”

When using the point-setter, back up the side of the frame opposite the tool with a smooth wooden block to prevent damage or loosening of the corners. Since the glass in large pictures is heavy, the points should be reinforced at the places where the screweyes are to be used. This will prevent the molding from gradually being bent inward due to the weight of the picture after hanging.

Plier-wrench as Fitting Tool

A PLIER-WRENCH can be employed as a fitting tool for driving or, rather, pushing brads into narrow frames. Pad the side of the jaw that is to be used against the molding and use the tool in the same manner as for the one described on page 17. Use care so that the brad is not driven clear through the molding.

White Glue

While hot glue which requires a glue pot (Page 15) is still useful for particular jobs, the plastic glue usually referred to as "White Glue" will serve well for almost all of the work performed by framers. It can be used full strength or thinned with water for mounting, gluing cloth to inserts, joining frames, etc. It is non-staining, water-resistant and dries clear and hard. In fact, it is an ideal, all-purpose adhesive for the crafts­man.

INSERTS

Cloth-covered Inserts

Another method of cutting the mitered corners on cloth-covered inserts is to proceed to cover the molding as described on page 53 and after the parts have dried, lay them face down on cardboard. Now take a new, single-edged razor blade (these are available at art stores as "industrial" razor blades) and trim off the excess cloth, holding the covered molding down firmly while doing so.

A MITER-CHOPPER is the proper tool to use for cutting lengths of cloth-covered molding but since this piece of equipment is bulky and expensive, it would not pay to invest in it unless framing is to be done in professional quantity.

FINISHES

Quick-drying Sealer

A quick-drying, pigmented sealer with an alcohol base is available in white and in black. They can be mixed together for gray. The white dries flat and han­dles like an opaque shellac.

The sealer effectively covers resinous woods and colors which tend to bleed. It can be used for coating casein-painted frames prior to applying the toning color.

If raw umber pigment is added to the white sealer and it is then thinned with alcohol to a watery con­sistency, an excellent "graying" tone for raw wood frames will result. Give the frame a thin wash of the mixture and wipe immediately with a cloth. After it has dried, sand very lightly and wax the frame. This will attain a "driftwood" finish that harmonizes with almost any picture.

Textured Wood

Most wood used for molding can be textured in an interesting way by striating it with a coarse rasp. Hold the rasp or other scratching tool with both hands and pull it along the molding with the grain.

A heavy steel brush (like those used by butchers to clean chopping blocks) can be employed to good ef­fect. This removes the soft parts of the grain, leaving the hard parts raised. Finish with a dark stain, a neutral casein wash and then wax.

Spattering with a Spatter-Gun

A SPATTER-GUN with colored inks for spat­tering is available from craft supply houses. Although it looks like an ordinary insect spray gun, its nozzle is especially adjusted for spattering. It makes this operation particularly easy because the spattered dots can be controlled from fine to heavy by the speed with which the plunger is operated.

A set of colored inks comes with the gun. Since it is not likely that any frame would be improved by spat­tering it with a strong color such as red, it is suggested that all of the inks be mixed together in a bottle. This will produce a neutral brownish tone that will be suit­able for all spattered frames.

Gold Highlights

Gold highlights (see page 70) can be applied to edges and decorations on frames by using a brush and ready-mixed gold paint. Stir the paint thoroughly and after dipping a Yi" lettering brush in it, brush out some of the paint on newspaper. Hold the brush lightly and let the flat side slide along the edges of the molding and hit the high spots of the decorations. Use a light touch, lift the brush frequently and do not apply the gold too regularly.

Another method is to mix gold bronze powder with paste wax. Experiment to find the correct amount.

This can be applied as described for rubbing on color. (See page 70.)

MATS

Covered Special Mats

When a picture calls for an individualized mat, the framer may use one covered with tinted or decorative paper, or fabric, such as unbleached muslin, linen, etc. First cut the paper or cloth about 1/2" larger all around and dampen it. Coat the mat board with paste or glue and mount the material. When dry, trim off the excess with a razor.

Now mark and cut the window in the same way as for a plain mat. The bevel will be white and will make a pleasing contrast with the mounted material.

The knife must be very sharp in order not to tear the mounted material. Alternatively, the picture can be tipped on the mat, using small pieces of gummed pa­per as hinges or with spots of glue.

MOUNTING

Adhesive

WHITE GLUE, which is sold under a variety of trade names, is very useful for mounting. It can be used full strength for heavy materials or thinned with water for papers, etc. It dries a little more rapidly than wallpaper paste but, on the other hand, does not re­quire as long a pressure time.

Canvases on Hardboard

1. Coat the (⅛" thick) hardboard with thinned white glue. If it dries before the canvas is mounted, it will not matter.
2. Dampen the back of the canvas with a moist sponge.
3. Coat the back of the canvas with full strength white glue.
4. Smooth down with a roller or cloth and place under weights for 10-12 hours.

PASSE-PARTOUT

Using Cloth Tape

Passe-partout (Chapter XII) continues as a useful method for framing pictures for reasons which the writer finds valid. Artists in particular find this an in­expensive way to present their prints, drawings, or wa­ter colors. The use of colored mats with contrasting tape colors make this method a pleasing, space-saving way to show their work.

It is important that the framer keep in mind that the use of cellophane, masking or pressure-sensitive paper or cloth tape is not recommended for any but the most temporary work as the weight of the glass will frequently cause the assembly to slide apart.

GUMMED CLOTH TAPE (sometimes called bookbinders tape) comes in large rolls of black, white, brown, gray, etc., and is highly recommended. The 1" width is adequate for most jobs.

The following is suggested as a method for achieving a straight edge and an even amount of tape on the face of the glass. Use two 1" spring clamps to hold the picture and backing together and let it extend over the edge of the worktable. Place a weight on the glass so that the assembly doesn't shift. Now take a straight­edge—A ruler or piece of cardboard will do—and place it ¼" from the edge of the glass. It can be held in posi­tion with pieces of masking tape.


When applying the moistened tape, butt it against the straightedge and follow the procedure as described on pages 116-117.

While a cloth or sponge can be used for moisten­ing, a 2" brush dipped in water will be found more effective. Lay the tape with the gummed side down and wet the face side of the tape. Turn it over and wet the gummed side thoroughly. The glue on the tape is heavy so one does not need to hurry in applying it to the glass. Use a clean cloth for pressing it down.

Hangeis

A note here about hangers may be of value. It will be necessary to attach the hangers before the picture is assembled and taped. A mirror hanger with a 1" brass paper fastener may be employed, or a hanger can be improvised which will be exceptionally secure, having a pull of over 25 pounds. This is assembled as follows: Cut a piece of metal strapping or other thin metal having smooth edges (about ½”wide) to a length of 2½". Bend it in half and bore or punch a ⅛" hole ¼" from the end through the two thicknesses. Cut a ½" slit in the center of the backing 3" down from the top. Spread the mirror hanger or the metal strip open and insert one-half in the slit. Slip a drapery ring under the strip, punch a hole through the backing, insert the paper fastener and spread it open on the other side.

Tap the fastener flat with a hammer.

ASSEMBLING

An Inexpensive Glass Cleaner

Mix equal parts of denatured alcohol and water and a small quantity (1 to 2 ounces to a pint) of acetic acid or vinegar. Sprinkle on the glass, using one cloth for cleaning and another for wiping.

Gummed Kraft Tape for Sealing

A simple and effective way of sealing the backs of pictures after assembling is achieved with the use of GUMMED KRAFT TAPE, the most frequently use­ful width being 2". Stationery stores or industrial paper supply houses carry this item.

Cut four strips one inch or so longer than each side. Spread white or other glue on the back of the frame molding. Moisten the gummed side with a very wet cloth, attach the tape neatly and press down with a clean, damp cloth. Trim off the surplus end with a razor.

Gummed paper tape will always adhere properly to the backing and frame if this method is applied con­scientiously.

EXPERIMENTAL FRAMES

Tipping on Pictures

Sometimes a very old print or a picture with irregu­lar edges is enhanced when "tipped" on a mat covered with a special material and allowed to hang free, not pressed against the glass. For this presentation make a shadow-box frame and assemble it as described for pastels (page 76). The strip used to separate the pic­ture from the glass can be of any thickness, depending on the effect desired.

Use gummed paper hinges or spots of glue or paste to attach the picture to the mat.

Covered Inserts

Original effects can be produced by covering the molding or insert, before assembling, with decora-tively patterned or marbleized paper. This is then sized and coated with clear lacquer or shellac.

For instance, a narrow, light colored insert might be used surrounded by a much wider, flat frame covered with the decorative paper and the whole framed with a simple, medium-width, neutral finished frame.

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