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Plogger Photo Feed: Chagall Frame Plogger RSS Feed en_US Plogger Tue, 06 Oct 2009 13:54:10 -0400 Tue, 06 Oct 2009 13:54:10 -0400 Tue, 06 Oct 2009 13:54:10 -0400 The Finished Frame - 12.31.1969 <p><a href="" title="The Finished Frame - 12.31.1969"> <img src="" alt="The Finished Frame - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>The Finished Frame - 12.31.1969</p><p>Here is the finished frame. It\'s been gilded, incised, burnished, selectively rubbed, then recieved a thin coat of clear shelac. It\'s had a wash of watery black casein paint that was quickly wiped off, only staying in crevices as an accent. Then, another thin shelac-ing, and a nice rub with paste wax. White gold can be difficult to light evenly in a photograph. The four corners actually have about the same amount of blue showing, but is is less apparent when the light glints off the gold. I hope you enjoyed this primer. Please feel free to ask me any questions you may have, but be careful, I love this stuff. I tend to ramble once I get started... ;)</p> The Finished Frame - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Scrap - 12.31.1969 <p><a href="" title="Scrap - 12.31.1969"> <img src="" alt="Scrap - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Scrap - 12.31.1969</p><p>This is a scrap of molding that I gessoed, boled, gilded and incised, as a test before gilding the actual frame. If you look closely at the severed edge, you can see the blue bole. We decided to use blue at the corners, and grey overall. You can see how the different colors of bole tone the white gold differently. If you notice the extra shine in the little petals, it is because those areas are \"burnished.\" Burnishing is achieved by rubbing at the freshly laid gold with an extremely smooth agate stone. This smooths out both the gold, and the clay bole underneath it, and achieves a brilliance that is the hallmark of watergilding. The lines you see are called \"incising\" and are achieved by drawing on the soft surface of the fresh gold with a hard stylus.</p> Scrap - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 One better - 12.31.1969 <p><a href="" title="One better - 12.31.1969"> <img src="" alt="One better - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>One better - 12.31.1969</p><p>Here is the digital \"mock-up\" that won out.</p> One better - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 One possibility - 12.31.1969 <p><a href="" title="One possibility - 12.31.1969"> <img src="" alt="One possibility - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>One possibility - 12.31.1969</p><p>This image is a bit of digital magic. We experimented with the effects of different surfaces by \"photoshoping\" my sketches onto the photo of the frame in progress. As you can see, we briefly considered a central pattern a the bottom of the frame, and trailing vines on the sides.</p> One possibility - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Corner design - 12.31.1969 <p><a href="" title="Corner design - 12.31.1969"> <img src="" alt="Corner design - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Corner design - 12.31.1969</p><p>This is the final corner design we arrived at. The rosebud and the sort of \"lollipop\" flowers are from the bouquet the Satyr is giving to the Nymph. The little bands of shells are made with leather punches, and make a nice division between the ornamented corners, and the patterned rail.</p> Corner design - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Patterns - 12.31.1969 <p><a href="" title="Patterns - 12.31.1969"> <img src="" alt="Patterns - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Patterns - 12.31.1969</p><p>These are a few sketches based on patterns in the Chagall. The client and I swapped many emails about different patterns for the surface.</p> Patterns - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Gesso and clay - 12.31.1969 <p><a href="" title="Gesso and clay - 12.31.1969"> <img src="" alt="Gesso and clay - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Gesso and clay - 12.31.1969</p><p>Here is the entire frame. At this point it has been joined, and sanded, then coated with at least six coats of gesso, and sanded glassy smooth. Since this frame is to be water gilded, it has also been coated in cool grey \"Bole.\" Bole is a mixture of rabbit skin or gelatin glue and special colored clay. It has the consistancy of heavy cream when applied to the frame, then dries rather chalky. The clay comes in a variety of colors. Reds and yellows are traditional for \"yellow\" golds, blues and black are typically used for \"white\" gold and silver. Custom colors can also be made by mixing clays or tinting with artist\'s pigments. Because gold leaf is unimaginably thin, the color of bole will influence the color of the final gilding. Gilders also frequently rub or abraid their gilding to show more of the bole.</p> Gesso and clay - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Raw wood joined - 12.31.1969 <p><a href="" title="Raw wood joined - 12.31.1969"> <img src="" alt="Raw wood joined - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Raw wood joined - 12.31.1969</p><p>Here is the frame after I joined the three profiles. The lip where the cassetta meets the inner rail was buried with wood putty, and carefully sanded smooth.</p> Raw wood joined - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Raw wood - 12.31.1969 <p><a href="" title="Raw wood - 12.31.1969"> <img src="" alt="Raw wood - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Raw wood - 12.31.1969</p><p>This is the frame after being carved, but before the three sections were joined. Perhaps carving isn\'t quite the right term for what went into this design. Mostly, it was accomplished with a wood rasp and a sander.</p> Raw wood - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 The design emerges - 12.31.1969 <p><a href="" title="The design emerges - 12.31.1969"> <img src="" alt="The design emerges - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>The design emerges - 12.31.1969</p><p>Here is a revised sketch showing the surface design.</p> The design emerges - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Another option considered - 12.31.1969 <p><a href="" title="Another option considered - 12.31.1969"> <img src="" alt="Another option considered - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Another option considered - 12.31.1969</p><p>Here is a sketch of another profile we considered. Although we ultimately rejected the profile, the surface design on this sketch became part of the final design. The twisting leaf/vine pattern is based on what appears to be a tattoo on the Satyr\'s leg.</p> Another option considered - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 A wavy form - 12.31.1969 <p><a href="" title="A wavy form - 12.31.1969"> <img src="" alt="A wavy form - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>A wavy form - 12.31.1969</p><p>We started looking at some raw wood samples, to get ideas of form, and scale. We agreed that we wanted this frame to be larger than other frames we had made for his collection. The image here is of a sketch I made of the three profile stack that we considered and eventually settled on. The cross-section edges show the actual shape of the raw profiles from the planing mill. The shaded areas show the re-shaping I intended. I felt a casetta shape, with rounded inner and outer rails was right for the image. If you hadn\'t noticed, the painting is of a Nymph and Satyr, and they seem to be underwater. I thought the undulating outer rail might reinforce that feel.</p> A wavy form - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 Surface is everything - 12.31.1969 <p><a href="" title="Surface is everything - 12.31.1969"> <img src="" alt="Surface is everything - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>Surface is everything - 12.31.1969</p><p>This image, also of a Badura frame , got us thinking about overall pattern and surface. This image is also from the PFM article by Mr. Adair.</p> Surface is everything - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 A key influence - 12.31.1969 <p><a href="" title="A key influence - 12.31.1969"> <img src="" alt="A key influence - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>A key influence - 12.31.1969</p><p>The client, my colleague Ryan Seals, and I talked about the painting for over an hour. Chagall painted it in the 1930\'s, and we began to discus different frame styles contemporary to the image. The client pointed out a fish drawn at the top of the painting, above the two figures. The fish is a recuring symbol in Chagall\'s work. I suggested we consider a frame in the style of the Bucks County Framemakers. They were known for their bold, incised surface decorations, which I felt would be a nice complement to the bold drawing style of Chagall. We began looking at some frame history books, and some magazines. When we found this illustration in an article about Bucks County Framemaker Ben Badura, I knew we were on the right track. This photo is from an article in \"Picture Framing Magazine\" written about Badura by noted contemporary Framemaker Bill Adair, and is reprinted here with his kind permission.</p> A key influence - 12.31.1969 Tue, 06 Oct 2009 13:54:10 -0400 The Painting in the Frame - 12.31.1969 <p><a href="" title="The Painting in the Frame - 12.31.1969"> <img src="" alt="The Painting in the Frame - 12.31.1969" style="border: 2px solid #000;" /> </a></p><p>The Painting in the Frame - 12.31.1969</p><p>A few months before I moved to New York, a client brought this wonderful Chagall painting to us for framing. He\'d only just acquired it, and it was to be the jewel of his collection. We immediatly set to work designing a frame to show off his new prize. We began by photographing the image for reference, as it was entirely too valuable to keep in the shop for the eight weeks it took to create the frame. At the client\'s request, I destroyed the unframed photographs, so I show it now, already framed.</p> The Painting in the Frame - 12.31.1969