Showing posts with label Tutorial. Show all posts
Showing posts with label Tutorial. Show all posts

Float Framing Artwork Tutorial for Prints, Drawings, and Artwork on Paper

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I’ve set a goal of framing a bunch of prints/drawings that I’ve purchased from artists over the last few years so we can enjoy having them on display.  I’ve put together this tutorial for you all so you can feel confident in framing work without damaging it or plunking down serious cash at the frame shop.  This method of framing hinges the artwork from the top and lets it hang freely in a deep set shadowbox frame.  It lets the deckle edge show, and is easy to make with minimal material costs.

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Materials:

  • Frame: a shadowbox frame that is proportionate to your artwork – I recommend buying frames in person as you can better gauge their quality.
  • Mat Board – I use archival Rag Mat Board – I don’t have to worry about it leeching acid or damaging prints/drawings over time.   
  • Mat Cutter (get one if you’re an artist or frame a lot of work – it is well worth the investment.) OR an X-acto Knife and Cutting Mat
  • Linen Gummed Hinging Tape – One small roll will last you a long time and it is reversible if you make a mistake or want to re-frame something later on.
  • Small T-Square  or a Ruler
  • Microfiber Rag – these are essential for cleaning frames because they leave no dust.
  • Scissors
  • Pencil and eraser
  • Scrap paper for making a mock-up
  • Optional: Drafting Tape  for initial positioning of artwork


Step 1:
Clean everything with your microfiber rag and some glass cleaner.  Clean your work area, clean your frame, take it apart and clean both the inside and the outside.  This may seem like overkill, but you’d be surprised at how dirty frames can be even when they are new.  This will keep little black specks of dust and errant cat hairs at bay. 

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Step 2: 
Make a template of your frame insert (or use the back of the paper that comes in your frame).  This will help you get accurate measurements for centering your artwork in your frame.

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Step 3:
Measure your artwork and center it on your template.  I like to have my artwork centered width-wise, and have a little bit more space on the bottom than on the top length-wise.   Make small marks showing where the corners are.

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Step 4:
Establish a ‘cut line’ that is about 1/3” down from the top of the print.  This is where we’ll cut a slit in the backing board to mount work invisibly

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Step 5:
Cut out mat board to use as your backing.  Use your mat cutter or your xacto knife and a ruler to produce a straight 90 degree cut.  If using your xacto knife, make sure to take your cuts slow – you’ll need multiple careful passes to cut through your mat board.  Be patient.

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Step 6:
Once your mat board is cut, lay your template over the mat board and transfer the ends of your cut line by pushing your pencil through your paper.  It should create a small indent that you can then use a ruler to connect.

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Step 7:
Using your Mat Cutter or your Xacto knife, cut a slit along your cut line through to the back of your paper.  This cut should be the opposite directions that you usually cut mat bevels, and should be at a 45 degree angle.  If using an Xacto knife, it may take a bit of practice to get this technique down.

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Step 8:
Once your bevel is cut, take some pieces of Linen tape about 2” long  and cut them to be about 1/2” wide.  If you are hinging a larger piece, use 3” long tape and use the full 1” width. 

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Step 9:
Mount the tape in a small square to the back of the artwork.  If mounting a photograph, or something on really thin or translucent paper, the linen mounting tape might not work the best – you may want to try a self-adhesive archival tape.  Make sure you don’t add too much water to the tape – I like to put the water on, let it sit for a few seconds to absorb into the tape, and then adhere it to the back of the print.  Make sure you mount it lower than 1/3” from the top – I like to mount mine about 2/3” from the top so that I have a little vertical space to work with when adjusting my artwork.  Also be mindful not to mount the tape pieces wider than your slot in your mat board.

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Step 10:
Slide the tape through the slit in the mat board and adjust it until your print sits exactly where you want it.  I like to use some drafting tape on the back once I get it situated before I adhere it to the back of the mat board to double check that the print sits just right before adhering the gummed linen tape to the mat. 


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Step 11:
Once you’ve double-checked your placement, adhere the linen tape to the mat board and take an additional piece to place over your slot.  This will keep it from bowing out or warping over time. 


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Step 12:
Place your artwork in your frame and enjoy! 
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The wonderful piece in this tutorial is a print by Michael McGovern - a grad school friend, and wonderful printmaker based in Portland - click on his name to check out his website and other work!


Studio: How to Paint an Underpainting in Oil

Yesterday I took some time out between teaching to start a new piece. I've got two solo exhibits coming up in the next month and a half, and so I'll be putting in some good studio hours in the next month. I thought I'd take this opportunity to walk you through my painting process a bit.

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First, I set up a still life and light it. This can take a while - even with a fairly simple backdrop. Finding the right colors and composition can be really difficult! After I set up and light my still life, I sketch out a few options for the composition. For this image I am using a 12x16" canvas so I made my drawing 4x5.3" (1/3 scale). I do this quick drawing to make sure the image is balanced, and then use it as a guide for my next step.

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Next, I draw out the figurine from observation. This can also be a deceivingly time-consuming step! Most of the time it takes an hour or so to get things just right. I'll use visual observation, measuring, angling, and observing negative space to get the figurines sketched out properly. I use a hard-leaded pencil (3H or 4H) and erase more than I draw! In the end I look to have an outline of the main forms, and a light sketch of some of the details.

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After the sketch is finished I start the under-painted layer. This layer is the foundation of the painting - an oil 'sketch' that starts to build the opacity of subsequent layers. For this layer I use oil paint thinned with low odor mineral spirits (with good ventilation of course!). This follows the #1 rule of oil painting - to paint 'fat over lean'. Lean paint is paint thinned with a thinner, and fat paint is paint in it's thick, straight from the tube consistency, or paint with added oil (such as linseed) for glazing or added work-ability. To start the figurine I painted a thinned layer of grey paint - this effectively 'wets' the area, making it easier to smoothly brush additional layers over the base color. This keeps the edges of brushstrokes nice and smooth.


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Next, I start blocking in the light and dark areas within the figurine, and adding some color as well. I work from simple to complex. I think a lot of painters get caught in the 'trap' of trying to make everything look perfect right away - or starting detailed painting in one small area only to figure out that their composition is no good by the time they are almost finished. Blocking things in can give you a great idea as to whether or not your painting stinks in a fairly quick time period. I've had quite a few paintings that have been 'wiped' at this point (wiping= taking mineral spirits and essentially erasing the entire thing off of the canvas and restarting
at square one!).


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At this point, I start to get more in to the details - blending the transitions between light and dark, painting in some of the highlights and shadows in more contrast, and filling in the first layer of the background. Again, I keep these layers thin - using only paint and paint thinner. My goal with this series is to have a relatively flat finished surface, so my approach is to layer 2-3 layers of thinned paint over one-another to minimize the appearance of brush strokes on the canvas. This is my 'finished' under-painting. I'll let this guy dry for a week or so, and then get working on the next layer of the painting where I start to really refine the forms and make it 'shine'!


Lastly, I'm pretty sure the color scheme of this painting was unknowingly influenced by my sock choice that day.
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I guess that's a sign that I am easily influenced - hah! Thanks for reading!