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Picture Frames

Dr.Al

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Dursley, Gloucestershire
Name
Al
My other half's birthday is coming up in a few weeks. She's a keen artist and I thought I'd have a go at making something for her birthday. I'm fairly sure she doesn't check this forum so it should be safe to post this!

The idea for this was shamelessly plagiarised from inspired by this GR Woodworking youtube video.

Carolyn had mentioned that she struggles with small paintings, finding it much easier to work on A4 size or bigger. Although in the past she's used acrylic paints a lot, at the moment she uses mostly watercolours. With all that in mind, I bought some tiny 100 × 100 mm canvases, perfectly suited to oils or acrylics :ROFLMAO:. In all seriousness though, I thought the pack of 10 small canvases would give her some opportunities to practise small paintings and she has mentioned that she's got some stuff that can be painted on any surface to turn it into a good watercolour medium (so I do listen a bit, really!)

Anyway, here are the three picture frames I've made (having just had their first coat of finish - Polyvine Wax Finish Varnish Satin for the Sycamore one and Mike's Magic Mix for the oak one and the ABW one):

three_picture_frames.jpg

A couple of other photos showing the shape:

angled_view.jpg

close_up.jpg

I didn't take any photos of the backs but they're flat and fairly featureless. There's a keyhole slot (made with a screaming monster) for hanging and that's it. The canvases are a snug fit in the pocket so I was planning to hold them in place with a combination of friction and a bit of sticky tape.

I also didn't take many photos of the process of making them but a few teaser shots follow:

Roughing out the inside curve with a gouge (I enjoyed this a lot, especially on the Sycamore, which was lovely to work with):

process-01-roughing-out.jpg

Refining the shape with the gouge and a big flat-faced chisel with a curvy end (all the MFT-style dog-holes in my bench are really useful for holding stuff like this):

process-02-smoothing.jpg

Scraping (this the first time I've ever used that curly card scraper):

process-03-scraping.jpg

Starting to round over the edge in the vice:

process-04-shaping-outside-01.jpg

Finishing the first edge shape with the frame clamped on the bench:

process-05-shaping-outside-02.jpg

Unusually for me, the frames got a lot of sanding (150 grit, 180 grit and 240 grit). I usually try to leave a planed finish and skip the whole sanding malarky but I'm not quite as confident with curvy surfaces (especially the inside curves on something like these frames) - there were a few blemishes left after card scraping for which sanding seemed the easiest option.
 
Very nice Al. Did you consider leaving gouge marks rather than smoothing. Could be a feature for the next one.
 
Very nice Al. Did you consider leaving gouge marks rather than smoothing. Could be a feature for the next one.
Very, very tricky to do really well...I know 'cos I've tried. This bloke:

images.jpeg

...knew exactly how to do a gouge finish which can be left straight from the tool (Look at 'Peter 14' on the linke) - Rob
 
Very nice Al. Did you consider leaving gouge marks rather than smoothing. Could be a feature for the next one.
I very seriously wondered about it but decided against it in the end. Even if I had done it, I would have only done it on one of the three I think.

When I made the sycamore / walnut drawer box recently I went with a gouged finish and I was really pleased with how it came out. However, to do three of them in different woods and have them all end up looking the same (which was something I was aiming for) felt like a bit too much to ask of my gouging skills.

In the end the decision not to was mostly because I wanted to keep the frames looking quite plain as I don't want excessive detailing to take away from the (yet to be made) paintings. I'm of the opinion that your eyes should be drawn to the painting, not the frame.
 
There is another way to achieve a similar effect.

This is David Pye, author of books such as The Nature and Art of Workmanship demonstrating it. Follow the link for more about a jig that looks even scarier than Rob's one for his Krenovian doors!

0216_Mortise_and_Tenon_Magazine_Issue_Ten_Jeff_Miller_David_Pye_Fluting_Engine.jpg


 
Very nice! The walnut has some beautiful grain. I may try making one of these(my adult daughter likes to paint). But I may leave the gouge marks like the original vid but use the Ray Kinman technique of applying the paint but then lightly sanding to take the paint off the high parts of the ridges to give it more depth.
 
My other half's birthday is coming up in a few weeks. She's a keen artist and I thought I'd have a go at making something for her birthday. I'm fairly sure she doesn't check this forum so it should be safe to post this!

The idea for this was shamelessly plagiarised from inspired by this GR Woodworking youtube video.

Carolyn had mentioned that she struggles with small paintings, finding it much easier to work on A4 size or bigger. Although in the past she's used acrylic paints a lot, at the moment she uses mostly watercolours. With all that in mind, I bought some tiny 100 × 100 mm canvases, perfectly suited to oils or acrylics :ROFLMAO:. In all seriousness though, I thought the pack of 10 small canvases would give her some opportunities to practise small paintings and she has mentioned that she's got some stuff that can be painted on any surface to turn it into a good watercolour medium (so I do listen a bit, really!)

Anyway, here are the three picture frames I've made (having just had their first coat of finish - Polyvine Wax Finish Varnish Satin for the Sycamore one and Mike's Magic Mix for the oak one and the ABW one):

View attachment 59151

A couple of other photos showing the shape:

View attachment 59144

View attachment 59145

I didn't take any photos of the backs but they're flat and fairly featureless. There's a keyhole slot (made with a screaming monster) for hanging and that's it. The canvases are a snug fit in the pocket so I was planning to hold them in place with a combination of friction and a bit of sticky tape.

I also didn't take many photos of the process of making them but a few teaser shots follow:

Roughing out the inside curve with a gouge (I enjoyed this a lot, especially on the Sycamore, which was lovely to work with):

View attachment 59146

Refining the shape with the gouge and a big flat-faced chisel with a curvy end (all the MFT-style dog-holes in my bench are really useful for holding stuff like this):

View attachment 59147

Scraping (this the first time I've ever used that curly card scraper):

View attachment 59148

Starting to round over the edge in the vice:

View attachment 59149

Finishing the first edge shape with the frame clamped on the bench:

View attachment 59150

Unusually for me, the frames got a lot of sanding (150 grit, 180 grit and 240 grit). I usually try to leave a planed finish and skip the whole sanding malarky but I'm not quite as confident with curvy surfaces (especially the inside curves on something like these frames) - there were a few blemishes left after card scraping for which sanding seemed the easiest option.
My rule* is sanding for shaping is OK. In fact, sanding and then scraping can work really well, leaving you with a cleaner finish than if you just stopped at sanding.

Great result. They're really nice looking and quirky frames.

*My other rule is that all rules are there to be broken, unless they're commandments (" do unto...." etc.)
 
There is another way to achieve a similar effect.

This is David Pye, author of books such as The Nature and Art of Workmanship demonstrating it. Follow the link for more about a jig that looks even scarier than Rob's one for his Krenovian doors!

0216_Mortise_and_Tenon_Magazine_Issue_Ten_Jeff_Miller_David_Pye_Fluting_Engine.jpg


Compulsory reading for my uni coarse at Shoreditch in the 70's. I have both his books (hardback editions) in the bookcase - Rob
 
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