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FRAMING YOUR WATERCOLOUR/WATERCOLOR PICTURE - Page 3 of 3
This page details how I put together the elements to make the frame for my watercolour/watercolor paintings using the equipment (page one) and the materials (page two).
This is an over view of the process, there is much more to learn, mostly gained by trial and error, but always aim for the best quality frame, mount/mat etc that can be produced.
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Establish the frame dimensions. As an example: a painting of 9" x 13, you need to add the dimension for the mount/mat surround, 3" for each side & top and 3½" at the bottom (this is an example only, the size can be larger or smaller), giving a final mat size of 15½" x 19".
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These measurements need to be transferred to the main scale on the Morsø. I place a small pencil line at the 19" and 15½" marks on the main scale. The width of the moulding is measured and a pencil mark is placed on the stop bar sliding scale. It is then easy to line these pencil marks up (great if doing a number of frames to the same size).
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Insert a length of moulding and adjust the rebate support bars to the correct height - this stops the lip being forced down or splitting as the knife cuts through.
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At the end just inserted, cut the first mitre (this need to be done to fit the stop bar on the sliding scale) and then move the moulding along until it hits the stop bar (for this example 19" - for the top length). Check fit, then cut first length and place on a flat surface. For each length of moulding I work clockwise around a frame. The first for the top, next is the right-hand side, followed by bottom and finally left-hand side. This ensures that the corners match when joined.
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Adjust stop bar scale pencil mark to 15½" (side length measurement) on the main scale. Push moulding to stop, check and cut. Place length to right-hand side of first length on the table.
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Adjust stop bar scale pencil mark to 19" (bottom length measurement) on the main scale. Push moulding to stop, check and cut. Place length bottom on the table.
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Adjust stop bar scale pencil mark to 15½" (side length measurement) on the main scale. Push moulding to stop, check and cut. Place length to left-hand side of first length on the table.
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Select two lengths of moulding - top and right-hand side - remember which ends join and place some wood glue on these ends. Place in underpinner and if using an old machine hold the sections so joint is lined up correctly and insert one 'V' (having checked that it's in the correct position). Return the jointed section to the table. I only insert one 'V' at this stage as it allows some movement if required.
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Repeat number 8 for the other two lengths - left-hand side and bottom.
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Next join the two 'L' shaped sections together, by inserting one 'V' at each of the opposite corners.
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Adjust the underpinner for the second 'V' is to be inserted and then working in an opposite corner manner insert the second 'V' until the four corners are done.
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Place the frame on a flat surface and leave for a few hours so the glue can dry.
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The first decision to make is what width the windowmount surround will be. For a 9"x13" painting I use 3" with 3½" for the bottom and for a 13"x20" painting 4" with 4½" for the bottom but the choice is yours.
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To save adjusting the mountcutter/matcutter when cutting the window I add the ½" (added to the bottom) to the other three side giving a board size of 16"x20". You can get four sheets (four paintings) from a full sheet at this size.
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Set the mountcutter/matcutter to 20" and using the vertical cutter trim the board.
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Set the mountcutter/matcutter to 16" and using the vertical cutter trim the board. You now have a board 16"x20".
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Adjust the stops to 3½" (Note: not 3") and if necessary change the head to the bevel cutter. Test on a scrap piece that there is no overcut and the center of the aperature comes out cleanly.
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Turn the board face down (so you are cutting it from the back face) and place a scrap piece underneath for the blade to cut into.
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Cut the four sides of the window and remove the board, the center of the window should fall out freely, if not adjust the stops or cut carefully (try not to damage the bevel edge) with a sharp blade.
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The last part is to trim the ½" added from three side to give the final board size. Set the mountcutter/matcutter to 15½" and using the vertical cutter trim the top of the board, then set measurement to 19 ½" and trim one side the board and finally, set measurement to 19" and trim the other side.
You should have a 15½"x19" board, with a 9"x13" window, 3" mount/mat surround on three sides and 3½" for the bottom.
Lines and embossing
If you are going to apply any form of decoration to the windowmount/windowmat it should be done now.
A Washline Corner Guage should be used to mark (lightly) out the corner points of the lines.
You can use a pen for the lines (Pilot Gold and Silver Pens - extra fine, fine or medium) but I've had much better looking results with a ruling (mapping) pen and Daler-Rowney Pearlescent Inks.
I use a sable brush to apply the ink to the ruling pen but only sufficient to complete one line, also make sure there are no bubbles in the mixture and that no ink has got onto the edge that runs along the ruler. Complete the first line (between two of the marks you made) then rotate the mount/mat 180° and do that line, then connect the two lines with the last two. Always work from the outside, so your ruler never comes into contact with the ink (the ruler I use has a rubber strip underneath which stops movement but also lifts the front edge (this is vital) above the board surface.
The ruling pen needs cleaning with warm water after doing eight or so mounts in a row before the ink dries. As with all things, some practice is needed on a scrap piece (the same board you will use), especially the starting and stopping at a mark, getting the ruler the correct distance from the marks and holding the ruling pen at the same angle along the line or you will end up with curved lines.
These decoration lines can be single, double, or used in combination with grooves, colour (color) washes etc. Pearlescent is a unique range of 21 water based acrylic colours producing a shimmering pearl effect which changes as the light strikes from different angles. Although water soluble these acrylic based inks become water resistant when dry and also extremely lightfast. The undermount/undermat (that I use), glass and backing board can now be cut to 15½"x19".
Note: Hinges should be torn, not cut. Hinges should be weaker than, or the same paper weight as, the artwork - never heavier.
- Turn the painting over so the back is towards you.
- Tear a strip of P90 tape (about 12mm or ½" in length) and place on the top edge and about 1" in from each side, with half on, half off, the artwork (some recommend less stuck to artwork, or just enough to hold the artwork).
- Not everyone does but I place a further strip (cut in half along length) at right angles to cover the section of the first strip stuck to the artwork (like an inverted 'T').
- Turn the artwork the correct way up and place on the undermount/undermat (location marks or lines should be made on this board (using a knife blade to lightly mark the surface, it is recommended not to use a pencil) for accurate location of the painting).
- Next tear and place a final strip, at right angle, over the section projecting from the artwork. The artwork is now attached to the undermount/undermat with two hindges on its top edge.
The next part is to create the hinge between the windowmount/windowmat and the undermount/undermat the painting is attached to.
- Place the windowmountwindowmat over the painting, making sure it's the correct way up (bigger section at bottom).
- Flip the windowmountwindowmat over the top edge, so that the top edges meet, with both boards flat and the side edges line up.
- Place a strip of P90 tape over the join line of these two boards (creating an internal hinge) then flip the windowmount/windowmat back. Check that edges line up.
The artwork (bottom) with the 'T' shaped hinge which attaches it to the undermount/ undermat.
The hinge between the windowmount/windowmat on the left and undermount/undermat on the right.
You should have all to the correct size: a frame, glass, windowmount/windowmat with decoration completed attached to undermount/undermat and backing board.
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If not already done, clean both sides of the glass.
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Place clean glass over combined windowmount/windowmat, painting and undermount/undermat.
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Check, and check again for particles of dust, hair, insects etc. Remove all before proceeding, it is not easy to take the frame apart later to remove any of the above later. I find a strip of the backing film, from the P90 tape, very useful for sliding in and removing particles etc.
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Next seal one edge with the P90 tape (some framers combine the backing board, others don't do this stage at all). Start by sticking about 2mm (1/8") onto the top surface of the glass - must be less that rebait (so it does not show) of the frame - then by pressing the glass, mount/mat etc together with one hand, push the tape down over the edge and onto the back. I do the centre of each length first and work to each end.
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Repeat for the opposite edge and then the two ends.
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The sealed glass etc can now be placed in the frame and the backing board (unless sealed as one unit) placed over it.
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Depending on moulding and/or depth of glass, mounts etc insert framers points or flexipoints. If using flexipoints remove glass etc from the frame rebait and using a piece of card (thickness about half the depth of rebait) as a guide for the point gun. Insert a number along each length and bend up vertically so glass, mount etc will slide in. If tight do not force or glass will break some space can be made by pushing the bent section with a screwdriver to make it flat.
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With the frame face down the lengths of gummed brown tape needed can be easly worked out and the four lengths cut. I trim a 45 deg. section of two of the lengths (short length). Wet the gummed side of the tape and stick down the first two longer lengths, followed by the two short ones. Make sure all the edges are stuck down. Leave to dry.
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Mark (1/3 from the top on upright section of frame) the position of the two 'D-rings'. I drill a small hole before inserting the screw, do not overtighten or the frame will split.
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Thread a piece of wire or cord between the two 'd-rings' and tie at both ends. Make sure all is tight and secure. The loose end can be held alongside the main cord with a sleeve (small strip of gummed brown tape) wrapped around both. Hang on the wall with one or two (if heavy) picture hooks.
The parts ready to be sealed together.
Sealing all parts together.
Framers Flexi Points hold glass etc in.
Brown Gum tape provides a nice clean finish to the back.
Light - sunlight is the number one enemy for watercolour/watercolor paintings. Avoid hanging pictures directly opposite large windows or where sunlight reaches, as this fades colours/colors and discolours/discolors the paper. Special UV-coated glass will help to slow this down, but at a cost (see section on glass).
Temperature - ideally pictures should not be hung above radiators/fires etc. Changes in temperature (on and off of heating) cause paper and wood to warp or dry out and adhesives to fail.
Damp - can cause pictures to ripple. If the ripples touch the glass, the picture might stick and be difficult to remove. Fungal growth is another problem - shows up as brown stains. Conservation framing can slow these effects, but it is always best to avoid hanging framed pictures in humid conditions (bathrooms, kitchens etc). Allow six months before hanging pictures on newly plastered walls.
Hang securely - use two hooks on the wall if a picture is large or heavy, each hook set about a quarter of the way in from either side of the picture. Check that the cord, wire you use is designed to support the weight of your painting. There are special security fittings available should you wish to protect your painting/s from theft etc.
Cleaning - dust frames rather than clean with water or fluids. If water or cleaning fluids have to be used on the glass, apply them to a duster first, rather than spraying on the glass directly. Take care not to let the fluid touch the frame or worse get behind the glass.
Transportation - when carrying or transporting a picture, grasp the frame firmly on both sides (NOT the top). If you need to store pictures, make sure they are stacked vertically and the right way up. When stacking pictures, stand them 'glass to glass' so that the hangers do not damage the frames and do not slide the painting, as this will remove any guilding or colour/color from the frame or damage (chip) the corners.
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