PROFILE ISSUE 72
SUMMER 2016
Cover Image: The Wounded Foot, Joaquin Sorolla y Bastida (Spanish, 1863 - 1923),1909, Oil on canvas (Courtesy Getty Open Content Program).
ISSUE 72 - SUMMER 2016 4 FROM THE EDITOR 6 FRAMING AND DESIGN 8 FRAMING COMPETITION AWARDS 10 THE BLOCK EFFECT 12 ART AND FRAME 2015: SHOW REPORT 14 ART AND FRAME 2015: IMAGES 21 PPFA WORKSHOPS 22 PRODUCT UPDATE 24 THROUGH THE LENS 26 ALL THAT GLISTERS IS NOT GOLD 32 DO IT YOURSELF: SUMMER FRAMES 36 CLASSIFIEDS
Editor/Publisher: Frank Filippone Assistant Editor: Claire Rafferty Sub Editors: Andrew Baird, Chris Filippone Production Team: Kara Luckie, Katherine Westle, Danial Schofield and Richard Howell PROFILE is an independent magazine with a focus on the art and framing industry. PROFILE is published in Australia and is available to members of the industry by subscription only. All enquiries: PROFILE MAGAZINE PO Box 1150, Mornington Victoria 3931 Phone 03 5975 3677 Fax 03 5975 9203 editor@profilemagazine.com.au www.profilemagazine.com.au Presenters of: www.theframingshow.com.au
facebook.com/framingshow
Merry Christmas
Best wishes for the holiday season and thanks for all your support in 2015 from Profile Magazine
We all need a break sometimes I don’t know about you, but I’m feeling pretty exhausted right now. The lead up to Christmas has been a particularly tough one this year and we have been working round the clock to get all our framing jobs completed before the end of the year. But what’s great about this year is I know when all the work’s done and Christmas arrives, I will be taking a break–something we Australians have become far less likely to do. A recent survey of 1250 Australians found that two-thirds didn’t use all their leave because being away created too much stress and even more work to catch up on. More than three quarters of those surveyed felt guilty about taking a break, while 67 per cent said they still did some work while on holiday. So much for our image as laid back beach lovers–we are more likely to be stressed out and overworked! As many of us in the framing industry are self- employed or business owners, we are all too familiar with the phenomena of not giving ourselves a holiday, but now we are not alone. And the expansion of retail hours and shopping days that barely stop before the post-Christmas sales begin, presents further challenges to the idea of a “holiday”. And of course communication technologies have eroded the boundaries that once existed between working and non-working hours. Anytime, anywhere, is the new reality of work. But perhaps it is time we did give ourselves a break. And maybe we need to confront the fear of leaving work behind, even just for a little while. Who knows - it might actually improve our chances of keeping up with it all when we return, refreshed and revived. We might even find time to think and come up with some brilliant new ideas! Over the years I have always tried to present a feel good story for the Christmas issue. Typically I have looked back
over the year for the positive events that occurred in the world generally and our industry specifically. And I must say this has not come as easily this year, particularly in terms of global affairs. But with a little reflection I realized there is still as much to be thankful for as ever before. It’s probably a cliché, but a female jockey winning the Melbourne cup on what was seemingly an unremarkable horse from country Victoria made most of us feel good. It also served to highlight that gender equality is gradually entering every industry. In the distant past picture framers were part of various Guilds: they were carvers, painters and gilders and almost certainly male. But times change and industries evolve and adapt to meet the needs of society. As picture framers we probably know that better than most. The Framing Show in Sydney was a huge positive for our industry. The suppliers built a fabulous exhibition and visitors attended the show in strong numbers. Framers enthusiastically participated in the education program, with a fantastic team of presenters to which we are forever grateful for so generously sharing their time and knowledge for the benefit of the industry as a whole. As we come to the end of another year all reports are that business has been picking up across the board. Many even believe the framing industry is actually growing for the first time in quite a few years. Perhaps, finally, the worst is behind us and we can look forward to a good year ahead. Merry Christmas Everyone! Frank Filippone
REAL ART • REAL EDITIONS • REAL ARTISTS
For further information visit www.eastbourne-art-prints.com For all sales and enquiries about our limited editions, visit our website: www.eastbourneart.com or www.eastbourne-art-prints.com Contact Details: PO Box 179, Emerald, Victoria 3782 | Tel: +61 3 5968 2819 Fax: +61 3 5968 2662
WELCOME TO THE TRADE SHOW EDITION OF PROFILE MAGAZINE. WE ARE EXCITED TO LAUNCH THIS YEAR’S SHOW - ART AND FRAME 2015 WHICH WILL BE HELD FOR THE FIRST TIME AT ROYAL RANDWICK, SYDNEY.
FRAMING AND DESIGN A FUNDAMENTAL PARTNERSHIP Even though it was a challenging subject, the framing competition this year attracted a strong number of entries. The standards were very high, making the judges’ job even more difficult.
matter. In itself this is a useful learning exercise, as it is rare to be able to make this kind of comparison beyond the corner sample in the isolation of the workshop.
The entries came from right across Australia, and some from as far as New Zealand. It was notable that there were quite a number who had entered the competition for the first time–an indication that framers are making the decision both to develop and exhibit their skills. Some of those were also new to framing, which suggests that those entering the trade are taking a positive attitude towards professional development and actively participating in industry events.
While many had chosen a dark palette, the impact that even subtle variations in tint and hue had on the artwork was more obvious when viewed alongside each other. The effect of texture and pattern in mounting and moulding was also interesting to observe, and a lesson that these need to be handled very carefully by the framer when different elements are combined and interact with each other.
Exhibiting the entries at the show is always a great way to compare the different approaches taken by framers, and allows viewers to see and compare the effect that different framing techniques have on the same subject
The display also demonstrated the important role that size, weight and proportion play in framing design. Determining the amount of space to allow around the artwork using the mount, and the ratio between the artwork size, mount size and
moulding size, were just as significant as the more obvious choices to be made in mount colour and moulding style. These aspects of the design process are probably the hardest parts to master and are often invisible to the untrained eye, even though many of us might intuitively identify the better outcome. Identifying the effects of different aspects of framing design was further assisted by the judges’ critique session, which took place at the show on the final day. Many observers gathered to hear the judge’s comments and some requested to have their own entries discussed to better understand the evaluation process. This discussion was enhanced by the participation of the winner of the framing competition, Cathy Webster, who shared insights into her own design and thinking process. Cathy emphasised that she spends a lot of time carefully considering the artwork and thinking about its composition and colour before beginning the design process.
One theme that continued to surface in discussions was the notion that design decisions should be shaped by the artwork being framed. While this might seem like an incredibly obvious point–and perhaps the starting point for all framing–it is also one that can sometimes be forgotten. The design of the frame and mount can easily steal our attention as framers and become our focus, leaving the subject matter behind. We might end up with a beautiful framing package, but it may fail to enhance its subject, and sometimes even have a negative impact on its appearance and value. And that is probably the main point of the framing competition. It reminds us that those decisions we make every day have an enormous impact on the subjects we frame. Sometimes we need to play a more dominant role, and sometimes we need to step back and let the artwork do the talking. This might require us to first take some time to listen carefully and hear its voice before we can even begin to make our framing decisions.
FRAMING COMPETITION: THE AWARD WINNERS FIRST PRIZE Entry Number 24 - by Cathy Webster of Framing Matters, ACT HIGHLY COMMENDED Entry Number 58 - Wayne Nelson of Aartvark Picture Framing, New Zealand Entry Number 29 and 32 - Aaron Framed It, Georgetown NSW CREATIVE AWARD Entry Number 26 - Aaron Framed It, Georgetown NSW
WE WOULD LIKE TO THANK OUR FRAMING COMPETITION SPONSORS FOR DONATING THE FOLLOWING PRIZES: A Box of 25 sheets, 40”x 60” Artcare Archival Foamboard From Megawood Larson Juhl Artcare™ Archival foamboard, featuring its 100% alpha cellulose surface and patented Artcare microchamber technology, absorbs and neutralizes harmful gasses and protects the art well into the future. Artcare™ Archival foamboard provides unique protective adsorption of compounds off-gassed by polystyrene foam as well as adsorption of environmental contaminants. Prize donated by Megawood Larson-Juhl. www.mwlj.com.au A Box of Anti-Reflective Artglass™ from Groglass® Artglass™ is manufactured by Groglass® and is designed to meet the highest standards, provide easiest handling, truest image clarity and optimal UV protection. The premium quality picture framing glass is the preferred choice for independent frame shops as well as for the finest museums and art galleries worldwide. For more information please contact one of the local distributors of Artglass™ products – G.H.S. (www. ghs.com.au) and Helm Australia (www.helmaus.com. au) in Australia or Glasslines (www.glasslines.co.nz) in New Zealand. Prize donated by Groglass® www.groglass.com
Original Oil painting by Artist Marion Parker “Epiphany One” – 1210mm x 60mm Oil, mosaics, netting, paper on linen Valued at $1,900 (featured on our cover) Prize donated by Marion Parker Art www.marionparker.com.au Artists Print by Nick Fedaeff Title: AUTUMN LEAVES Artist: Nick Fedaeff Prize donated by Nick Fedaeff www.nickfed.com The image for this year’s competition was a reproduction of a painting by Paul Cézanne titled Young Italian Woman at a Table (Digital image courtesy of the Getty’s Open Content Program). The image was reproduced as a giclee print on Canson art paper. We are very grateful to Canson for donating the paper for the reproduction. And a special congratulations and thank you to everyone who entered the competition! Without so many people prepared to dedicate so much of their time, effort and resources to the competition it could not exist.
Above: the winning entry. You can view more images of the winning entries and the competition on our facebook page at: facebook.com/framingshow
Cathy discussing framing design with the audience during the critique session.
Cathy with Craig Obradovitz from Nielsen & Bainbridge
Cathy with Nick Fedaeff’
Cathy with a representative from Groglass.
Cathy with Marion Parker
GROWLER A BIG HIT ON THE BLOCK Eastbourne Fine Arts’ Orange Growler I (below) by Adam Cullen was recently featured on Nine Networks’ The Block in Kingi and Caro’s dining room. The “Growlers” were originally published as a set of four “Pop Art” editions in Orange, Blue, Magenta and Green in editions of 99 plus A/P’s. The print also features in ‘The Block Shop’, an online product store featuring items seen on the program. The late Adam Cullen’s iconic Growler has become one of Australia’s most loved contemporary art images. Fantastic to see a quality Australian art edition featured on a television show with such a huge audience!
THE BLOCK EFFECT A Melbourne framer has reported completing a number of jobs that ended up featuring on The Block, as well as having customers request framing that looks like something they have seen on the high rating television show: “The natural timber frames with floating artwork and spacers have been hugely popular. I suspect what happens is The Block designers pick up on what’s popular and make it even more popular... Then everyone wants something individual, just like they saw on The Block!” There is also a vast amount of blogging and online discussion that surrounds these shows and continues to popularise the items on the show. Paying close attention to renovation programs may prove profitable for framers as they are hugely influential on popular taste, with artwork and wall decor a prominent feature. Framers could then be prepared with designs ready to show their customers and confidently inform them “here’s a style of framing you may have seen on The Block...”
DES release Breathing Color Inkjet Canvas in Australia DES has announce that they have been selected by Breathing Color to represent their Breathing Color Inkjet Canvas in Australia. Breathing Color is a leading US based manufacturer of high quality fine art inkjet canvas. The Breathing Color Inkjet Canvas collection is intended for high quality inkjet printing for photographers, fine artists and professional photolabs. Every fine art canvas within their product line has been analyzed to ensure its print permanence prior to its release into the marketplace. Breathing Color use their own state-of-the-art equipment to undergo intensive accelerated testing for lightfastness and humidity response. They then backup their own internal findings, with further longevity by the Fine Art Trade Guild (FATG). FATG tests each product individually for pH and lightfastness. Breathing Color then obtains a rating and approval from FATG for each approved inkjet canvas. When one of the products has met the above standards, Breathing Color issue it an Archival Quality Certificate which
customers are free to download, print, and freely use with their own customers and in their own marketing materials. This can provide a point of difference for retailers who wish to offer a higher quality print service. Ian Clare, Managing Director of DES, said: “We are very pleased to extend our range of inkjet canvas to include the Breathing Color portfolio. The Breathing Color standards for quality and technical excellence sit well with our organisation as DES is absolutely committed to working with our customers to produce the highest quality inkjet prints. We back this commitment with a large and highly skilled technical support team, deep inventory levels and warehousing around Australia to make sure we can get to the customer what they want, when they wanted it.” To obtain samples and learn more about Breathing Color inkjet canvas please contact: camille.godfrey@des-pl.com.au or visit Breathing Color online at: www.BreathingColor.com
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ART AND FRAME 2015 EXHIBITION - SEMINARS - WORKSHOPS It was clear upon entering the venue of the 2015 framing show that this was going to be a positive experience. The interior was filled with light and colour and happy looking faces. The show floor was buzzing throughout the event. Samples were being chosen, catalogues browsed, and the machines were running at full pace. The exhibition walls were filled with well-orchestrated displays that really highlighted the value of the products and materials in an effective and practical way. Everyone looked approachable, with staff on stands working together to make it a beneficial experience for all. They made sure that visitors walked away with more knowledge and a greater understanding of the products and processes behind the materials and equipment they supply. It was clear that visitors were enthusiastically admiring the displays and placing orders. The industry professionals who presented seminars also ensured the event was a success on many different levels. The whole industry owes these individuals a huge debt of gratitude. Jared Davis’ What Customers Want and his new class, Guerrilla Selling Techniques, were popular seminars that gave people the opportunity to focus on an area of running a framing business that many framers struggle with. Jared’s unstoppable energy and enthusiasm for his work, and the industry as a whole, always serve to draw people in and give them the kind of boost they need to make positive changes in their approach to sales. Jared provided practical approaches for dealing with difficult situations such as overcoming ‘price shock’, ‘closing the sale’, and justifying a higher price than competitors. Presented at the show for the first time this year, Glen Vardy’s two sessions– Four Corners of a Sale and Growing a Sustainable Frame Business–received very positive reviews from those who attended. With a
wealth of experience behind him running a successful framing business (Frames Now) Glen was extremely generous to share his insights with the broader framing community, with many framers staying behind to chat personally with him well beyond the conclusion of his seminar. His ‘insider knowledge’ was just the kind of information framer’s were seeking, with many coming away from his sessions full of fresh ideas for their own business. (You can visit the Frames Now website to see evidence of what an impressive framing business he is operating at www.framesnow.com.au). The Framing School’s June Andersen was once again working hard throughout the event providing practical demonstrations and seminars that were embraced by framers. Sessions such as Mounting and Matting Works on Paper, and Joining Mouldings and Fillets, provided the technical information and skills framers need to help them in the workshop. Everyone enjoyed June’s very useful tips and techniques, such as her method for stretching images printed on canvas using the ‘Gallery Wrap’, to create that much desired crisp, clean appearance and perfect corners. But more than anything visitors just loved talking to June and asking her questions related to the practical concerns and issues they have as framers. Visitor’s were also very pleased to see the return of Brian Wolf to Australia. Brian is a highly respected educator and has a long history of visiting Australia and engaging with the local industry. His book, Cutting, Carving and Decorating Mats has been a long time favourite among Australian framers and he has been demonstrating his mat decorating techniques at conventions and workshops around the world since the late 70s. Local framers who have admired his designs and used his book as a guide, enjoyed the opportunity to meet Brian in person and see him demonstrate his work. Cathy Webster of Framing Matters presented a detailed seminar on Appropriate Designs and Attachments When Framing Textiles and Objects. Cathy brought with her an extensive collection of beautiful samples which were fascinating to view in themselves. Working with textiles and objects is a very challenging area for framers and Cathy’s knowledge and skill in preservation framing and design were an inspiration to those that attended. Her dedication to maintaining the highest possible standards is exemplary. We were also privileged to have a team of highly
qualified conservators at the show from The Australian Institute for the Conservation of Cultural Material (AICCM). Representatives from the Institute presented a panel discussion, Framing With Conservation In Mind: Collaborating With Conservators, and also had a stand at the show where they were available to discuss conservation issues with individuals. You can find out more about their work at www.aiccm.org.au The feedback from visitors after the show was particularly positive and it showed there is a strong desire among framers to improve their industry knowledge and skill level. Overall the event received good reports, with praise for the new venue coming from both visitors and exhibitors. Details of the next show have not been finalised, but at this stage we are looking at returning to the same location in 2017.
PPFA Framing Workshop Program 2016 Based on feedback and requests from members, PPFA Australia in conjunction with Megawood Larson-Juhl, are planning a series of hands on training workshops for 2016, designed to help framers gain the knowledge and understand of fundamental framing methods and techniques. CPF® Certification These workshops will cover key areas of practice & understanding which are relevant to the knowledge required for passing the PPFA Certified Picture Framer CPF® Exam. Due to the scope of knowledge required – we are planning to split this training up into two separate workshop events. The first of which to be held in March 2016. Workshop 1 - Framing Fundamentals The first part of the PPFA training program will be a 3-day intensive workshop which will cover the initial fundamental of key framing topics including: • • • • • • • • •
Frame design Conservation framing materials Hinging works of art on paper Methods for framing canvas Methods for framing textiles Methods for framing objects Framing photographs Machinery & equipment use and tips Decorative mat design – fillets, wash & ink lines, v-grooves
These workshops are planned to be interactive & hands-on, where ALL participants are encouraged to demonstrate and share their knowledge with each other. When? Thursday, March 10th to Saturday, March 12th 2016 (3 days) Where? Megawood Larson-Juhl, Brisbane. Megawood Larson-Juhl are able to provide us with full use of their facilities in Brisbane, which offers conference facilities & relevant equipment and materials. Cost? For full 3 day attendance which includes lunch and tea: $330 for PPFA members $470 for non-PPFA members For single day attendance, including lunch and tea: $150 for PPFA members $180 for non-PPFA members Workshop 2 – Advanced Framing Techniques The second follow-up workshop is planned to be held around August-September 2016. This will cover more advanced areas of framing knowledge, and we also plan to offer an opportunity for those who wish to sit the PPFA CPF® exam after this event as well. Dates and program outline will be confirmed after the first workshop. Anyone interested in the March classes can email Quentin Webster at: mail@ppfa.net.au or info@framingmatters.com.au or phone 0432 682 849 www.ppfa.com
PRODUCT UPDATE This is a new table and mirror combo from All States Frames. The M604 is a slightly new concept which is a great way for framers to introduce furniture to their range.
M607 rattan style silver mirror from All States Frames
Traditional small mouldings from All States Frames. are experiencing a revival at the moment.
FrameReady Frame
- Nature photography - Fine art prints - Object framing - Needle art - Advanced conservation - Going digital - Advanced matcutting Go to our website
www.theframingschool.com.au to see further details and dates. June Andersen - 02 4441 8118
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For the BEST in frame pricing soft ware, visit
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NICK FEDAEFF ART PRINTS ON CANVAS AND PAPER, POSTERS, PRINTS ON STRETCHED CANVAS, ORIGINAL PAINTINGS
to request catalogue email to info@nickfed.com
THROUGH THE LENS Framing, photography, imaging and printing combined in new innovative learning centre
Many of our readers will know June Andersen through her work as an educator at The Framing School as well as her seminars and demonstrations at our industry trade shows. However, what is perhaps less well known about June is that she is also a professional photographer. And that her studio and workplace is located in one of the most interesting locations imaginable: a zoo on the South Coast of NSW. At her base at the Mogo Zoo, June has been running an exciting program of immersive photography courses that allow participants to learn photographic skills while having a close experience with the inhabitants of the zoo, in a way that would not be possible in any other situation. But now in addition to Photography courses, June has established the MOGO ZOOm LEARNING CENTRE, an innovative hub of education and creativity right in the heart of the zoo. MOGO ZOOm LEARNING CENTRE This is a complete Learning Centre, operated by June Andersen for everyone interested in digital photography, fine art printing and framing, at all levels and all ages. This is a unique concept – a newly purpose built facility to accommodate a Learning Centre – right in the middle of the Zoo and follows on from the success of MOGO ZOOm’s - A Through The Lens Experience photography course. June’s career in the arts spans over 40 years. She is a professional photographer and framer as well as a highly regarded educator in both fields. Her career has seen her work, in both capacities, in Australia and overseas. Courses offered will now encompass all facets of digital photography and imaging, Adobe Lightroom, fine art printing and framing. One-on-one tutoring and group/ club tutoring will also be available. THE FRAMING SCHOOL, which has been operated by June since 1993, will now be offered from its new location at the MOGO ZOOm LEARNING CENTRE.
MOGO ZOOm A Through The Lens Experience Photography Course Courses are conducted by June Andersen, who operates the MOGO ZOOm LEARNING CENTRE in her Studio situated within the beautiful grounds of Mogo Zoo on the South Coast of NSW. Mogo Zoo’s magnificent animals together with the wonderful roars of lions and tigers as well as the sweet songs of the gibbons combine to make this a very special and unique venue for photography and learning. The MOGO ZOOm course runs over 2 days and participants enjoy access to areas otherwise closed to Zoo visitors – this means an opportunity to utilize purposebuilt viewing platforms and camera portholes. In addition to this, up close and personal photographic experiences with some species are also available during the course. Two different courses are offered, MOGO ZOOm and MOGO ZOOm Advanced, and both include: • • • • • • •
a two hour tutorial conducted by June lunch and morning/afternoon tea on both days course notes lots of photo opportunities throughout the 2 days guidance from June the entire time expert commentary by various Zoo Keepers who engage with the group during the 2 days. maximum of 8 people per course
MOGO ZOOm LEARNING CENTRE Mogo Zoo 222 Tomakin Road Mogo NSW 2536 Tel: 0488 988 044 e: june@natureofphotography.com.au e: june@theframingschool.com.au w: www.natureofphotography.com.au w: www.theframingschool.com.au
As a follow-up up to the gilding and creative finishes classes we presented at the trade show we have provided some more detailed information for those who would like to experiment with their own hand finishes. On the following pages is a tutorial for hand gilding that can be used as the basis for a range of finishes, taking you well beyond the traditional gold frame. In this example, left, a raw wood frame was painted black and used as a base for gilding. After sealing the painted black frame with shellac, the ‘size’ is applied only to the section you would like gilded. After the gilding process is finished the frame is sealed again with shellac before a thin coat of black paint is wiped over the gold surface to dull it further. Hand finished frames can be customised to match artwork, furniture, rooms, or any other purpose you may have.
ALL THAT GLISTERS IS NOT GOLD Hand finishes using imitation gold leaf
Different types of leaf from left: copper, silver and imitation gold
MATERIALS NEEDED: LEAF The gold leaf that we generally use today is of course not actually gold. Also known as Schlag Metal, Imitation Gold, Composition Leaf or Dutch Metal, these products are composed of different metals. Imitation Gold leaf is typically composed of a Copper and Zinc alloy of 85% Copper and 15% Zinc. Imitation Silver leaf is composed of 100% Aluminium leaf. Copper leaf is composed of 100% Copper leaf. Variegated leaf is a metal leaf composed of pure Copper or a Copper and Zinc alloy to create Imitation Gold with various colours and patterns. If you are looking for a gold leaf supplier there is one located in Melbourne at: www.goldleaf.com.au SIZE Size is the name given to the adhesive used to attach the leaf to the surface to be gilded. Quick Size is a waterbased gilding adhesive (size) designed for using with imitation gold leaf. SHELLAC Shellac is a resin secreted by the female lac bug, on trees in the forests of India and Thailand. From around the 19th to early 20th century it was the dominant wood finish in use, and is the main element in ‘french polishing’. It is processed and sold as dry flakes and dissolved in a spirit to make liquid shellac. It can be bought as a liquid or as flakes, but will be more economical bought as flakes and mixed yourself. Shellac comes in a range of colours - the blonde is clearer and the orange (the most commonly found) will give a warmer tone. Around 250 grams of Shellac will make up to 1 litre of lacquer when added to 3/4 of a litre of methylated spirits. The liquid will need to be stirred and shaken frequently when dissolving and can be kept in a jar and topped up for later use by adding additional methylated spirits.
PAINT The paint you choose to use will depend on your own requirements and the type of effects you wish to achieve. The base surface that the leaf is applied to is traditionally coloured red or black, as these provide a richness to the surface colour when the leaf is applied and will appear through the leaf if rubbed back. However, as long as the starting surface is sealed, you can apply the leaf over any base or colour of your choice. The base for gilding was traditionally made of bole (a smooth clay like surface) to resemble the smooth surface of solid gold when the leaf was applied. The smoother the starting surface, the smoother and shinier the gold will appear. Some people today use spray paint on a sanded wood surface to cover the base consistently (and quickly). A red oxide spray paint is a common choice. You may also wish to have a range of paint colours to apply over the gilded surface. A good quality acrylic paint will work well (sample pots are a handy way to try different colours). The colour can be applied to the gilded surface (after sealing with shellac) and wiped off while still damp with a cotton cloth. You will need to experiment with different washes of colour and consistencies to achieve an outcome you are happy with. Brown tones will darken and warm the colour of the gold while paler tones will dull and lighten the surface. OTHER EQUIPMENT AND TOOLS • brush to apply the size (use good quality artist brushes for each task) • wide flat dry brush for pressing down the leaf and dusting off excess • brush to apply shellac • brush to apply paint over gold (if desired) • cotton wool • clean cotton cloths to wipe paint finishes • white cotton gloves • hair dryer or heater (for drying shellac)
The shellac is applied here to a wood surface. In this case we have not applied a base colour, but have sanded and sealed the wooden base with shellac. This can be done multiple times for a smoother surface and to cover the grain. The colour of the light wood will give a soft tone to the gold. We often apply a base of red oxide or black to use as a starting surface, but you can vary the base colour to create different finishes and effects. Warmer tones will create a warmer gold effect and so on. This entire process can be done with either a joined frame or a stick of moulding, but joining the frame first will give you nice smooth finished corners that will create a better final appearance. The shellac can be left to dry overnight or for as long as needed. When the shellac is dry the surface will feel hard and smooth, and not sticky. Next you can apply the size. This should be applied in one session and applied smoothly and evenly in a single layer. Try not over brush the surface. The entire surface area needs to be covered. The gold will not stick anywhere there are gaps and the size will go lumpy if you attempt to apply a second layer to patch it up. You will need to work fairly quickly to prevent the size becoming tacky before you have finished. The size is white so you will be able to see where it has been applied, but you will want to work your way around the frame or along the moulding strip, covering the whole surface as you go (top, sides and edges). 28 PROFILE
When the size has dried clear it will be ready for applying the leaf. The size will remain tacky for a very long time, so the frame can be left aside before you continue with the next step. The leaf comes in a pile of sheets with paper between different sections, depending on quantity. It is very light, soft and fragile. It will tear easily and blow away in a draft. It will come in sheets laid slightly alternating so the top piece can be picked up from the visible edge. We have created our own paddle tool by covering a curved piece of foam core with velvet cloth, so the edge won’t tear or scratch the gold. Another piece of mat board can be used to help lift the leaf from the pile. Blowing softly at the edge of the leaf will raise it onto your board, while holding the rest of the pile down with the paddle. These techniques take practice and you will develop your own style of picking up and applying leaf over time. The sheets are picked up from the pile one by one and placed over the frame with edges lined up in a slight overlap to cover the surface. White gloves are worn to stop the oil from our skin discolouring the surface of the gold in the future. You can therefore pick up the leaf and use your hands to help apply the leaf while wearing the gloves if need be, however you will find over time that you will work faster and more efficiently using your tools. You can pick up small pieces of gold that break off and use them to patch any gaps you have left. PROFILE 29
Continue to place your sheets of gold around the frame until the entire surface is covered. The leaf can be placed fairly roughly over the frame as it will be quite easy to smooth it down once it is applied. Once you have covered the frame you can start to smooth down the surface. You can brush over the surface first with a soft dry brush to pat down any loose pieces and brush off the excess gold. The excess gold that falls off can be used to patch up any gaps you have left, or collected in a container and kept for later purposes. It can be used for small projects or to make a broken gold leaf finish on another frame. Use your cotton wool to rub over the surface, pressing the gold down and buffing as you go. You will see it begin to shine and smooth out any wrinkles of tears. If you discover more gaps, just pick up some of you excess gold pieces and apply them. As the size will stay tacky for a long time you can continue to do this until you are satisfied with your surface. Next we will apply a coat of shellac that will seal the gold surface before any further finishes can be applied. This will protect the gold and stop it from oxidization over time. Apply a good even coat of shellac without gaps. This needs to be done fairly quickly and if you are in a cool climate you will need to apply heat (using a hair dryer or portable fan heater) to prevent the shellac from ‘clouding’ and ruining your gold surface. When the shellac is dry your work is done!
Š Peter Eastway
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Epson Stylus Pro 9900
Do It Yourself
WHITE SUMMER FRAMES Another hand finish we are constantly getting requests for, probably more than any other, is the simple white painted frame. For a long time now white, or natural timber, square-shaped mouldings have been the preferred choice for most of our customers. They have become the default frame, playing the role that thin black or gold moulding once did. Yes, you can buy white moulding more cheaply and easily, and perhaps most people won’t notice the difference. But there are advantages to finishing your own frames. Firstly, you can buy a larger supply of quality raw timber moulding at a more affordable price, yet be able to create a range of different finishes from the same purchase. And secondly, the hand painted frame does look different to the factory made variety. And for some people that is important, and they like knowing that they have a truly ‘custom made’ frame. At this time of year in particular these frames are much in demand, so here is our simple tutorial for creating the ideal summer frame. Inspired by the white washed wood of jetties and beach shacks, they can’t help remind us of coastal getaways and long hot summers. Step 1 Cut and join the frame before painting. Painting moulding in lengths is easier but final results
are worth taking the extra trouble to paint the frame after it is joined. Step 2 Fill corners with putty to achieve a ‘closed corner’ effect. Step 3 Sand the frame. Use medium grade (120) paper and finish with fine grade (400). Step 4 Paint with primer/undercoat if using prefinished moulding, if raw timber skip this step. Step 5 Apply two or three thin even coats of paint. Use good quality acrylic paint (house paint is suitable and durable). The latest generation of Acrylic enamel paints are a good option providing ease of application and clean up, with good durability. Good quality paint brushes are not cheap but worth the money, and will pay off in terms of the quality of your application and finish. Stocking your workshop with a range of good quality paints, brushes, cloths and other supplies such as wax and shellac, are an first step to creating your own creative hand finishes.
Hand finishes can be applied on uncut lengths of moulding or completed frames窶電epending on your purpose and quantity required. Lengths will be easier to apply quickly and use space more efficiently for both applying and drying. But applying the finish to a joined frame will give you the corners that can only be achieved with hand finished frames. Thin white frames look great on stretched canvas (above) and are a good alternative to leaving them unframed, with many advantages for the artwork.
CLASSIFIEDS CLOSING DOWN SALE 16 HUNGARIAN PAINTINGS imported by a Hungarian customer elaborately framed by Graphic Art Gallery imported cost price $ 30,000 SALE $ 5000 or $ 850 each collect in Sydney enquiry: martin@graphicartgallery.com.au
POSITIONS AVAILABLE Full time & Part Time Experienced picture framers with consultative selling background are required for front counter retail sales at Frames Now in Melbourne’s eastern suburbs. The advertised positions include a rotation, which is inclusive of a share of Saturdays and Sundays. We do however have flexibility within our rosters to achieve a work/ life balance. Ideally you will have extensive front counter experience however ongoing sales, product and technical training is provided. Preferably you will have an art background and understanding of colour, proportion and design. Your hobbies are likely to include photography, painting, drawing, or craft. Frames Now is a family business established 42 years and has a great team environment and as such is only looking for team players. Due to growth within our existing stores and new store openings early 2016 we have positions for full and part time team members both immediately and February 2016. A salary plus commission and monthly Design Star incentives are offered. You must be computer literate and ideally familiar with computerized pricing and Gunnar mat cutter. Please provide a resume to glenn@framesnow.com.au www.framesnow.com.au
BUSINESS FOR SALE
BUSINESS FOR SALE Complete Picture framing business for Sale $31,000 Negotiable. Located in Burpengary Qld 4505. Currently running part time from home out of double garage Includes Everything!! VALIANI mat pro cms- i Mattcutter, Morzo Guillotine, Minigraf 3 Nailer, Fletcher 3000 glass cutter, Dell Computer, Compressor, desks, tables, cabinets, tools, stock, display boards, etc. Upgrade Equipment or start a second shop. Happy to transfer Business Name (We Frame It) and provide full contact list from the last 6 years of operation. For more info or to look at the equipment, please call Trish on 0402383571
Custom Framing Business for Sale - Brisbane Well established business (20 years) situated in upmarket riverside sburb also close to industry and CBD. Quality return clientlele (Domestic, commercial/corporate and high profile sporting clubs and new daily). Massive ongoing local residential growth. Great parking, excellent exposure, Main Rd position. All equipment and stock included, Air Conditioned. Computerized and manual matcutters, Morso guillotine and joiner. Computerized and manual matcutters, Morso guillotine and joiner. Computerized engraving machine, Air staplers and compressor etc. All financials available on request A rare opportunity to acquire a reputable and profitable framing business in Brisbane. All inquiries call Andrew: Ph 0448 082 663
Abstract Art and Meditation WORKSHOP ‘Awaken Your Creative Genius’ “In business we are often trained with one right answer, or things are seen as black and white, and there is no room for mistakes or improvisation. With this in mind, I have developed a unique abstract art class. This exciting one day workshop, teaches you to ‘let go’ and that it’s okay to think and feel outside the square. I show you how to get connected to the place inside you where healing and creativity exist and nothing is impossible!” – Marion Parker – Abstract and Contemporary Artist YOUR INVITATION: An Exclusive Intimate Gathering Designed for the Following People: • Business people who over use their left analytical brain and need a creative outlet to balance the right side of the brain • Stressed working individuals needing to relax, release tension and enjoy a fun, creative hobby • Carers who need to take a day out for themselves and do something expressive • Those with an illness who want to learn how to heal through art expression and discover art as therapy • Beginner artists wishing to ‘free up’ and move away from realistic painting • Like-minded people who share a love of art and a desire for health and happiness Through Guided EXERCISES – Learn and Discover: • The creative force you didn’t realise you had! • The practice of making your own unique style of abstract artwork • Re-ignite your artistic talents as a joyful hobby • Use art as an outlet for healing • How to relax through breathing meditations and centre yourself • Explore and trust your intuition and translate that through art practice • How to take risks, “let go” and “free yourself up” • Develop the relationship between intuitive thinking (who you are) and logical thinking (line, shape, colour, composition)…to help you say what you want to say through art • Have permission to “play” and have fun! ABOUT THE TEACHER Marion Parker ND has been a Naturopath, Homoeopath, Nutritionist, Massage Therapist, Energy Healer and published writer for over 20 years. For the past 10 years Marion has PAINTED. Starting with portraits, landscapes and realism, she quickly moved into impressionist painting and then fell naturally into abstract art, where she is most at home and feels most connected. Marion Parker’s artworks are sold to collectors all over the world as well as being represented in galleries in Melbourne and Sydney. Marion has personally designed this unique “Abstract Art and Meditation Workshop” to cater to business people and those under short and long term stress, to help them relax, have fun and let go. It is the culmination of her two careers and two sets of knowledge. She expertly combines these knowledge bases together to help people balance their integrative thinking, (left and right brain integration), and importantly have fun at the same time.
WORKSHOP DETAILS
“Abstract Art & Meditation – Awaken Your Creative Genius” WHEN: Friday 22nd January 2016 WHERE: Mornington Yacht Club (Level 1 function room) – Schnapper Point Drive, Mornington TIME: 10am – 4pm (Registration from 9.30am) COST: $175 adults (concession/students $165) – EARLY BIRD PAYMENT $155 (Paid by 14 December 2015) PARKING: Available around the Yacht Club INCLUDED: Morning Tea, Lunch, Afternoon Tea PLUS Art Materials Please REGISTER YOUR INTEREST: info@marionparker.com.au or Phone: 03 5974 8816 or www.marionparker.com.au/art-meditation-workshop
CLASSIFIEDS EQUIPMENT FOR SALE
Brevetti Prisme CE Double Mitre saw with extension scale arms and Dust Extractor. In very good condition - $5000 Keen Cut 4000 Wall Mounted Glass/Sunstate Cutter - $1500 Fletcher 2100 Matt Cutter - 60 inch - $1200 Vacuum Press - standard size - $800 Print Bin with approximately 60 prints - $300 Assorted moulding - $5 to $10 per length Contact Ian Knox Boot Hill Gallery 109 Charman Road Beaumaris 03-95835597
PICTURE FRAMING EQUIPMENT FOR SALE Complete framing workshop equipment The whole lock, stock & glue bottle. Guillotine, Vee nailer, mat cutters, compressor Air guns, hand tools, work benches. Mat board, moulding & consumables. All in good condition. Ready to start a framing business straight away. Will be sold as one lot only for $7800. PHONE John on - 0407 040 936
BUSINESS FOR SALE
TOTAL PICTURE FRAMES is for sale in Darwin Long standing business in huge complex $45.000 neg , For all information Ring DARREN 0431 286 013
EQUIPMENT FOR SALE Vacuum Press 40x60 complete with pump Inglet manual V- Nailer Zun Computerised mat cutter 40x32 Gunnar Rapido computerized mat cutter Please contact Glenn 0411 575.700
TIME FOR A BREAK... A BIT OF MUCH-NEEDED DOWNTIME AT THE FACTORY
All States Frames Home to the industry’s most elegant mirrors
All States Frames are well known as the leading supplier for corner frames and mirrors. As well as a full range of framing supplies and consumables, All States Frames have one of the largest ranges of fabulous mouldings in the industry. Now you can get some of these great mouldings at amazing prices. All States Frames also has a fantastic range of mirrored furniture. All of this can be viewed online. The M604 Table Mirror Combination. A great way to introduce furniture to your product range.
All States Frames 45 Geddes Street Mulgrave, Vic, 3170 Tel 03 9561 7533 Fax 03 9560 8764
www.allstatesframes.com.au