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Picture Framing a Project Plan for Professional-Quality, Custom Frames at a Fraction of the Cost

Picture Framing a Project Plan for Professional-Quality, Custom Frames at a Fraction of the Cost

WTAUNTON’S Picture A project plan for professional-quality, custom frames at a fraction of the cost

Build an Bookcase From Getting Started in , Season 2 Simple, Sturdy WorkbenchB y A s A C h r i s t i A n A ou can thank Mike Pekovich, For more FREE Fine Woodworking’s art direc- See how our magazine n A From Getting Startedtor, for designing in this Woodworking, simple but A Season 2 Y A C h r i s t i stylish bookcase. He took a straightforA - Simple, SturdyB y A s WorkbenchA n ward --an oak bookcase with and joints--and added nice pro- A C h r i s t i Lis T From Getting Startedportions inand elegantWoodworking, curves. SeasonLies 2 B y A s D supp We agreed that screws would reinforceDware an Lis T Mber, har Lies the joints nicely, andLu that gave us a deD -supp 8-ft.-long 2x4s, kiln-dried be inexpensivesign option on the sides.4 Dware Choose an oak plugs, and align the grain carefully, and n be versatile Mber, har 2 8-ft.-longln-dried 4x4s, kiln-dried his is easy and the plugsLu disappear. Make them from a 1/2 in. longide. by Front 3 in. jaw 3/4wide. in.ca thick.Front jaw can The base is 4 8-ft.-long 2x4s,1 4x8 ki ln-driedsheet of MDF by 6 in. long makes you a better project plans from in. thick. ong to build, yet is sturdy and contrasting , like walnut, and the 3/4 T 8-ft.-long 4x4s,2 ki pieces for 1/2vise in. jaws, longthick 7by and 3 in.the w rear jaw is rows of plugs2 add a nice design feature ear jaw-in.-thick is , 4 in. wide enough for any woodworker.4s and 2x4s), joined between 1 in. and 1 3/4 4 in. wide by 6 in. l to the broad1 sides,4x8 sheethinting of MDFatces the for con - jaws, 7 hort . The 1/2 in. thick and the r his workbenchconstruction is easy and inexpensive (4x 1 Filler block 1 for mounting3/4-in.-thick vise, plywood, struction in a2 subtleHardwood way. pie edium-density orking Vise (www.woodcraft.com)aft.com) Tto build,simply yet is sturdywith long and bolts versatile and s By design the betweenbookcase 11 in. containsbottle and untingof yellowa vise, glue sheet,number with of fundamentalFiller block lessons for7-in. mo glue Groz for Rapid-Action Woodwg Vise (www.woodcr top is two layers of MDF (m 1 1 3 ⁄8-in.-dia. threaded rod enough for any woodworker. The base is would-be furniture-makers, and like the andy shelf. bottle of yellow6-ft. lengthstion Woodworkinof rod constructionfiberboard), lumber (4x4s cut andfrom 2x4s), a single joinedother projects 1in this video4 series, the this bench 7-in. Groz Rapid-Ac3 ⁄8-in.3 ⁄8washers-in.-dia. threaded ront jaw of vise simply withenough long bolts left andover short to make dowels. a h Thewhole thing can-1 be built with16 just a few ,portable and a powerhand :4 6-ft. a lengthscircular16 3 of⁄ 8saw,-in. nuts a g front jaw ofrear vise jaw top is two layersThe ofonly MDF tools (medium-density needed to make 1/4-20 bolts, nuts, washers for attaching f , and a 3 ⁄8-in. washers ear jaw . 16 2 2-in.-long shers for attachin ing benchtop woodworker Fine Woodworking ),are cut a drill/driver,from a single a sheet,circular with 1/4-20 flathead screws for attaching - The shelves attach 3to⁄8-in. the nuts sides11/2 with-in.-long, ws for attaching r attaching vise small cast-16 2 1/4-20 bolts, nuts, wa ng benchtop simple dadoes, and the back and back- 1/4-in.-long drywall screws for laminat enough leftheld over router to make or a arouter handy table shelf. 2-in.-long of 1 r attaching vise splash drop into .2 Screws1 rein1/4-20- flatheadLumber screscrews for andlaminati hardware List The only toolsThere needed is room to at make one thisend forbenchh is a an essential -in.-long, 1/2-in.-long lag screws and washers, for 11/2 3 ⁄8-in.-dia., 2 s and washers, fo force the dado joints2 and also attach4 1/4-in.-long the drywall are a drill/driver,iron woodworking a ,vise, andwhic aop. hand The vise is Part gQtY size materiaL lower stretcher, and 1woodBox plugsof16 1 coverS-clip-type1/2-in.-long tabletop lag screw fasteners denthe screwjaws, holes. and the Smaller 3 ⁄wood8-in.-dia., screws 32 held routertool or ina routerany woodworking table. sh 4 16 ⁄8-in.-dia.etop dowels,fasteners roughly 3 in. lon are used to attach the plywood back. sides 2 3/4 in. x 11 in. x 52 in. Oak There isfitted room with at onenon-marring end for a woosmalldog cast- holes, sized S-clip-type tabl roughly 3 in. long Curves add life to rectangular16 pieces nch accessories. 3 ⁄8-in.-dia. dowels, iron woodworkingjaws and vise,benchtop which receive is an essential of furniture, and Pekovich16 worked in sheLVes 5 3/4 in. x 10 5/8 in. x 27 in. Oak in anyto woodworkingfit a variety of shop. handy The be visethree istypes, each irregular and organic 62 in. (as opposed to radius curves that can fitted with non-marring wooden jaws, and the11/2 in. 4 in. seem mechanical). At the top are gen- back 62sPL in.ash 1 3/4 in. x 3 1/4 in. x 27 1/24 in.in. Oak jaws and benchtop receive dog holes,tle curves sized that speed up as they move 5 in. to fit a variety of handy bench accessories.forward, each taken from a section of 3 ⁄16 24 in. 1/2 in. arched 35⁄16 in. 13⁄4 in. a French1 curve. At the bottom are two 1 3/4 in. x 3 in. x 26 1/2 in.13⁄4 in. Oak stretcher CLICK HERE NOW! long curves formed with a flexible wood SUBSCRIBE TODAY! , one extending end to end on the Oak veneer 24 in. 7 back 1 1/4 in. x 27 1/2 in. x 45 3/4 in. 5 8 in. lower stretcher,2 ⁄8 in. and the other a short 5⁄8 in.33plywood⁄ Long stretchers 33 graceful arch at the bottom of the sides, 3 in. 10 in. 1 ⁄16 13⁄4 in. ending at a straight step at each end to screwsLong stretchersFOr 13⁄4 in. 7 in. 30 #12 x 2 in. flat head screws Steel suggest2 ⁄legs.8 sheLVes Side 10 in. 13⁄16 in. screws FOr stretchers--Asa Christiana, editor, Fine Woodworking 24 #6 x 3/4 in. flat head screws Steel back 93⁄16 in. 93⁄16 in. Side stretchers VideOs Go to Finewoodworking.com/start to watch a multi-part video detailing how to build this bookcase from start to finish.

41 in. 9 in. 95⁄8 in. 41 in. 13⁄16 in. 48 in. 9 in. 48 in. to finish. 95⁄8 in. 17 in. 13⁄16 in. how to build this workbench from start start to watch a two-part video detailing how to build this workbench from start to finish. 31/2 in.17 in. Finewoodworking.com/ to watch a two-part video detailing Visit us online at start ViDeOs oodworking.com/ Finew 31/2 in. Visit us online at ViDeOs All About Picture Framing Make professional-quality, custom frames at a fraction of the cost BY ROBERT HAMON

raming is something woodworkers tend to shy you should consider using a backing board, a , and away from: It may be fear of damaging an irre- glass as well as a frame; paintings on canvas look best Fplaceable piece of art or of putting less-than-perfect with just a frame. The backing board keeps the art flat miter joints on display. Frames tend to get scrutinized and secure, the glass protects the art from damage, because they are the vehicles for displaying art; and be- and the mat keeps the art and glass from contacting cause art is critiqued up close, the frame will be, too. each other and sticking together. The good news is that professional-quality frames When it comes to mats, wider is better. Mats cut are not hard to make. The techniques are mostly fa- narrower than 21⁄2 in. do not add much to the ap- miliar to woodworkers, there is only a modest outlay pearance of the framing. Aim for a mat that is 3 in. on tools and jigs, and frame stock can be purchased to 4 in. wide. Another option is to use two layers of ready-made or built from scratch in your shop. mats, known as double matting, to give the framing a greater depth. Artwork determines frame size and design You need to visit a local picture-frame shop to select Art falls into two main categories when it comes to the mat, and to have it, the glass, and the backing framing with and without glass: If the art is on , board cut to size. Ask for acid-free materials in both

Three options for frames

BUILT-UP Beaded FROM TRIM STOCK molding

Often a piece of ready-made molding will pro- vide the inspiration for you to build a similar Rabbet for design from trim stock. Architectural trim artwork Egg-and- moldings come in a large range of sizes dart trim and styles, but in most cases you will have to create a base and a rabbet. In this ex- 3 Base ample, I started with a piece of poplar ⁄4 in. Rabbet molding thick by 13⁄4 in. wide. I cut a rabbet 3⁄4 in. for trim

wide by 1⁄2 in. deep on the tablesaw, and on

the other side I routed a rabbet 1⁄4 in. wide

by 1⁄2 in. deep to hold the art. I then glued egg-and-dart trim to the wider rabbet and a strip of beading to the top surface. Because the trim pieces may not match, is a better finishing option than stain. I sprayed a coat of gesso (a combination of and glue) on this frame, followed by Rabbet the base and attach the trim. After cutting the rabbet for the black and then bronze paint. After it dried, egg-and-dart molding on the tablesaw (above left), mill the rabbet for I rubbed the frame with 000 steel wool, then the artwork on the router table (above right). Glue the egg-and-dart trim applied black to “age” it. to the rabbeted base, then add the beaded molding.

68 Photos: Mark Schofield All About Picture Framing Make professional-quality, custom frames at a fraction of the cost BY ROBERT HAMON

the mat and the backing board. The additional charge thick, and glass is 1⁄8 in. thick. Most commer- is worth the protection it affords your artwork. Once you cial frames have a rabbet depth of about 1⁄2 in. have all of these pieces cut to size, only then can to allow for double mats and to leave enough space you calculate the frame’s dimensions. for fasteners to keep the contents in the frame. The Frame size refers to the dimensions of the artwork, standard width of the rabbet is 1⁄4 in. not the outer size of the frame itself. When determining the size of a frame, measure to the inside of the rabbet. Miter corners on a special sled To allow for wiggle room, add an extra 1⁄8 in. in each Two factors are crucial for making mitered corners that direction. For example, a 16-in. by 20-in. piece of art fit perfectly. First, the 45° angles must be accurate. gets a frame sized 161⁄8 in. by 201⁄8 in. When cutting Second, the molding pieces that are opposite each the molding to rough length, add twice the width of the other must be exactly the same length. frame molding plus an inch or two as a safety margin. Cutting picture-frame miters on a tablesaw Your must have a rabbet deep enough using a standard miter is a real chal- to secure the thickness of what you intend to frame. lenge. Problems include small amounts of play Mat board is 1⁄16 in. thick, backing typically is 3⁄16 in. in the miter gauge and lack of support for the molding

MOLDING FROM SCRATCH

Although a frame does not require the strength of a hardwood, if you do use one, READY-MADE keep the design simple to MOLDING show the figure of the grain to its best advantage. To You can get the same finished make a frame with curves, moldings—ranging from classi- use a instead. cal to contemporary—that are White , , and available to framing shops (see are easy to work, but if you Sources of Supply on p. 72). Or plan to stain the frame, select you can purchase unfinished the wood carefully to avoid moldings if you want to stain streaks that may distract or paint the frame to match from the artwork. the artwork. Avoid moldings The molding can be cut that have rounded edges on on a shaper, a router table, the base or a deep curve in the or with a molding head on back because it will be harder the tablesaw. to the frame when it is being glued together.

Block print, this page: Laura Wilder MARCH/APRIL 2005 69 Cut perfect miters on the tablesaw

Unlike most tablesaw sleds, this one has two fences of different lengths. A short is used to make the first cut on the right- Metal , 2 in. wide hand side of the molding; a long fence is used to cut the left- hand miter. The longer fence incorporates a ruler and a stop block that allow moldings to be cut to precise and repeatable lengths. Hold-downs support stock over its entire length.

53⁄4 in.

STOP-BLOCK DETAIL

Metal ruler Threaded knob and screw Fence Molding base Metal ruler

Fence base

ACCURATE FRAME DIMENSIONS Stop The size of a frame block is measured from the inside of the rabbet, so the and the stop Nut glued to block are designed to stop block take this into account. M AT C H T H E F R A M E T O T H E ARTWORK near the blade. The traditional solution has been to for making the first cut on each section of molding, Art on paper usually build a miter sled or a sliding miter jig that eliminates while the fence for the second cut is 36 in. long—the is surrounded by any movement and supports the full length of the practical limit for cutting frames on a tablesaw. Each one or more mats workpiece up to the blade. Clamps or hold-downs fence consists of a base with a ruler attached to it. The and protected with add to the jig’s accuracy. You may have a jig already, ruler on the long fence allows you to measure each glass before being framed (top). Oil but to cut picture-frame molding, you need a jig with piece accurately before it is cut. An adjustable stop paintings or repro- two further attributes: It must provide an accurate way helps make accurate duplicate pieces. ductions may look to measure and cut the lengths of molding so that the When cutting frame molding, always cut the longer best with just a opposing sides are exactly the same, and it must be sides first. If you should err, you still will be able to cut frame and no mat designed to cut the outside edge of the molding first the longer piece into a shorter side. With your rough- or glass (bottom). to eliminate splintering on the most visible edge of cut section of molding secured to the short fence, the frame. miter the right-hand end. Move the molding to the My jig (see the drawings above) is designed to miter long fence, using the ruler to establish the desired picture frames. Rather than the typical board, it length. Clamp the molding and set the adjustable stop is a rectangle, aligned to the miter-gauge slots at a 45° at the end of the molding. Cut the left-hand miter. The angle. Instead of two fences of equal length, one is short parallel section of molding is cut in the same way,

70 FINE WOODWORKING Drawings: John Hartman; painting, this page: William Godfrey Hold-down, 1⁄4 in. thick by Knob 1 in. wide by 7 in. long

T-bolt Fence base, Metal ruler, 1⁄4 in. thick by 2 in. wide, 11⁄2 in. wide facedown

53⁄4 in. The first miter cut. Clamp the piece of molding, rough-cut to length, to the short fence of the jig to cut the right-hand miter.

Runner 3⁄4-in.-wide minitrack for hold-downs Sawkerf

Key prevents the Plywood base, jig from tipping. 14 in. by 46 in. The second cut. Clamp the molding to the long fence and set the stop block at the cor- rect distance from the blade (above). Then cut the left-hand miter (below).

but now you have a stop, making the two sections identical in length.

Glue and strengthen the frame With all four sides cut, you’re now ready to assemble the frame. Most of the strength in the comes from the glue but only if the pieces are clamped to- gether firmly and accurately. My favorite clamping method is a miter vise, but other methods include a strap clamp, especially with the use of corner blocks, and a four-corner clamp that uses threaded rods. Nails can be added to reinforce the joint. Most fram- ers drill a hole using a slightly smaller chucked in an . Nails can be added while the frame is secured in a miter clamp, or with the frame braced to absorb the blows of the hammer. To lessen the chance

MARCH/APRIL 2005 71 of splitting the wood, make sure the nail is driven with Two options for gluing miters the dominant edge perpendicular to the grain.

The best clamp. Fit the artwork into the frame An old-fashioned Your framing project is not done until it is hanging on heavy-duty miter the . A painting on canvas will require fastening clamp works best to glue frames together only into the rabbet from the back of the frame. Pic- (right). A pair of ture call this “fitting.” Fitting items with mats and clamps allows glass is slightly different: Lay the glass, mat, picture, you to glue a frame and backing board faceup while you clean the glass. in two steps. For Spray a nonammonia cleaner onto a section of folded smaller frames, and wipe the glass from the center toward threaded rods and your other hand that is holding the edge of the pack- corner blocks are the clamping method age to prevent movement. Turn over the glass by the of choice (below). edges and repeat until it is free of specks. Then place the frame over the package, slide it to the edge of the table, grip the whole thing, and flip it over. OR Fastening everything into the frame is easiest with a point driver, especially if it is a hardwood frame. The hand tool looks like a gun, but it shoots a 5⁄8-in.-long point out the front into the inside of the rabbet. Alternative methods include using a brad set- ter, glazing points, or S-clips (see the left photos on the facing page). Seal the back with gummed-paper box tape to pre- vent insects and dust from getting into the frame en- closure. Moisten the tape, press it into place, and trim any excess. Do not use self-adhesive tape because the oils soak into the frame and backing board, and the tape eventually comes off. To wire the back of the frame, use two screw eyelets and twisted picture wire. Hardware stores sell these in packages rated for different picture weights. About a quarter to a third of the way from the top of the frame, puncture the back with an awl. Start the eyelet in the hole and then, using the awl inserted into the eye, turn the eyelet into the frame until it is secure. In softer , screw the eyelet all the way down. Loop the wire through the eye twice and wrap the small excess around the wire. The other end gets the same treatment, after the wire is pulled tight to eliminate slack. You have the correct tension if only two of your fingers can fit between the wire and the back of the frame. Now you are ready to hang your work for all to enjoy. 

Robert Hamon is a professional picture in Mission, Kan.

S O U R C E S O F S U P P L Y Dick Blick 800-828-4548 www.dickblick.com Lee Valley Tools Ltd. Reinforce the miter joint. Use a nail to 800-871-8158; www.leevalley.com drill a hole horizontally in each corner of Van Dyke’s Restorers the frame. Then hammer in a nail slightly 800-558-1234; www.vandykes.com larger than the hole. A miter clamp lets Woodworker’s Supply you nail the joint while the glue dries. 800-645-9292; www.woodworker.com

72 FINE WOODWORKING Secure the artwork in the frame

FOUR WAYS TO FASTEN EVERYTHING INSIDE

Points. The easiest way to fasten the art is to use a point driver, which inserts arrow- First, clean the glass. Clean both sides of the glass headed points into the frame. with nonammonia-based glass cleaner. Then lower the OR frame onto the art package. Slide the art-and-frame combination to the edge of the table and flip it over to add the fasteners (left).

Brads. Using a brad setter rather than a hammer lessens the chances of damaging the frame. OR

Then seal in the artwork. Attach gummed-paper box tape to the back of the frame to prevent dust or insects from getting into the framing. Glazing points. Drive glaz- ing points into the frame with a broad-tipped screwdriver. A block braces the pressure on the frame. OR

S-clips. These clips are avail- able in different sizes to match Now hang it by a wire. The picture is hung using eye- the distance the artwork is be- lets and twisted picture wire. Tension the wire until you low the back of the frame. can just fit two fingers under it.

MARCH/APRIL 2005 73

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