Frame Notes

On This Day

2012-01-22T16:22:00.000-05:00

January 22, 1879 in the Anglo-Zulu War; Battle of Rorke's Drift. when a small group of British soldiers, 139-141, defend their garrison against an unremitting assault by 4-5 thousand Zulu warriors. Immortalized in the 1964 movie, "Zulu".

Family Icon II

Bronislaus Janulis

South Bend Museum of Art

In 1890, the United Mine Workers of America is founded in Columbus Ohio. In my family, John L. Lewis is highly regarded for what he did for miners. Many in my family worked in coal mines, and some died there. The painting references my great Grandfather, who was killed in a coal mining accident.

This is also the anniversary of the commercial introducing the Macintosh computer, the famous "1984" , which aired during Superbowl XVIII.

Curmudging from the Hinterlands

2012-01-15T13:35:00.000-05:00

On the other hand, it is a valid supposition that photography is an art, or capable of being art, based on the eye only. I don't think any kind of argument can be made for "hand", especially in digital photography, but the eye and mind must be there.

As an artist, I'm free to make what I want, sans category or definition, and sometimes it touches the infinite, and transcends material and technique. Art. Not the ART of the cult of genius, but the art of an artisan, craftsman, laborer in the fields of obscurity ... be it painting, photograph, frame, or sculpture.

Random Thoughts

2012-01-05T19:37:00.000-05:00

Photography and Art at The Art Institute of Chicago

I've always, in spite of having studied it, been a little ambivalent about photography. I'm not sure it is an art, though the museum and art world in general treat it as such, or at least, some portions of it. Though I've embraced digital, I think computer control of images makes it even less of an art, speaking only of the minor manipulation inherent in photography from its beginnings. There was and is more "hand" in the wet, optical process, as in the darkroom performances of Saint Ansel.

Maybe, for me, hand, is important, and a lack of hand, negates the art. A hand made pot, by a child, might have more "art" than a beautiful image from a digital camera, computer enhanced, and mechanically printed, but never touched by hand, until pulled from the printer.

The idea of hand made versus mechanically reproduced is a notion I've been pondering of late, and I am not without contradictions on this subject. The so called giclée print, an ink jet print, is not a hand made object. If I make a frame using molded ornaments, the molds were hand made, the ornaments are cast and pulled by hand, and they are definitely fit and applied by hand, but alas, it is a mere bagatelle in the world of ART; it is only a picture frame.

Though “hand made”, it is possible to reproduce those ornaments ad infinitum, but there is still a lot of “hand” involved.

I am ambivalent, and as far as art goes, I’m probably far more inclusive than most, but photography is documentary, sometimes enchanting, and a huge part of the world of the new Millennium, but for the most part, not art. Hand is important!

And, for the sake of this post, I’m not going to touch on craft, but leave you with the work of a great artist, one that some would call a mere illustrator:

Earnest H. Shepherd, Eeyore

James Montgomery Flagg's definition of an illustrator, I paraphrase, was an artist who ate three meals a day, and could afford to pay for them. I think there was some ambivalence about art, craft, etc.

Bron

Phoneography

2012-01-03T10:46:00.001-05:00

Another shot, from yesterday, of the fearless Snow Dog of the Frozen North. I like this one as she looks resolute in her forging a path.

Tuesday morning, and the snow has mostly stopped.

Bears in the Snow

The Morning Clearing

And some thoughts on phonography:

I've been a photographer since my teens. Studied at one school, worked in the Audio-Visual Dept. at another, where I was the staff photographer and darkroom tech. I was conversant with a wide variety of equipment, in an industrial way; in focus, properly exposed, horizons level, and none of the team had their finger in their nose. Since then, I still do some pro work, documenting fine art, though my equipment choices have gone from SLR-DSLR to a high end compact. I still use lights, battered, and stands, held together with wire, and polarizers. The little camera, at base ISO, on a tripod, and good technique, is image quality wise, going to be comparable to almost anything else out there, and for 99.9 % of the uses, perfect. Plus, when I started using it, none of the DSLRs had live view on the LCD; you need to stoop and look through the viewfinder, while I could look at a 3" LCD.

In my own work, sketches for paintings, my amusement, family, I had discovered early on that a good image could be technically flawed; and in fact, those flaws might enhance the image. Technical perfection is not something I seek, nor am I probably very good at it; adequate when required. ( Certain aspects of painting require a "base" level of technical competence, something akin to grammer for a writer, but more ...?) Which raises another question; what is image quality? Technical perfection, or an image worth looking at? The point here is that technical quality should be subservient to the image itself.

Lately I've been using my phone camera, see previous post, as my casual, walking around tool, and that same tool has been recently featured in some of the photo-centric sites I keep up with. It has not been considered a ... serious tool. In fact, it seems possible that western civilization is in decline due mainly to phone cameras. OK, but it is discreet and quiet. There is only one "setting", focus and exposure, a tap on the screen, then the shutter release, which makes for very quick shooting. It also allows one to concentrate on composition, rather than settings. This basic simplicity, though often asked for as an essential aspect of serious "street shooter" cameras, is ignored on a phone camera, because it's a ... phone? Well, when I need to, I still have the "big" camera, but if you start seeing a lot of noisy, blurred, poorly focused shots here, it's just me practicing phonography, rather than being serious.

This square aspect ratio is quite a departure for me, as my paintings are often 1:2, or close to that, but since it's not serious, I'll continue to fool around. 8-)

Bron

A note: On this day in 1861, Delaware votes not to secede from the Union. I had no idea they were even contemplating it. Delaware was the first state to ratify the United States Constitution.

Snow

2012-01-02T15:03:00.000-05:00

Ginger, Snow Dog of the Frozen North, forges a path through the vast, white wasteland, of swirling frozen precipitation. Yesterday, the 1st., it started snowing, and it is still snowing, and blowing, and ... cold. Photo from this morning, the 2nd.

Taken with an iPhone, for which I have a new app, called 6x6, which does one thing; it shoots and saves in square format. I've fooled with square, but for some reason, I'm finding it quite interesting this time. It may have to do with the simplicity of this app. Previously I've found square to be inhibiting, but I'm seeing in the format now, so, some other squares from the last few days:

Holiday table. The Start of Snow. Giant Mulberry.

None of these is of any great importance, but the change from 3:2, 4:3, to 1:1 aspect is ... interesting.

The Monitor Wreck, on this day.

2011-12-31T13:07:00.001-05:00

Line engraving published in "Harper's Weekly", 1863, depicting USS Monitor sinking in a storm off Cape Hatteras on the night of 30-31 December 1862. A boat is taking off crewmen, and USS Rhode Island is in the background.

United States Naval History and Heritage Command, #: NH 58758

The Wikipedia article.

And .... again.

2011-12-27T12:00:00.001-05:00

And ... better .....

A little more of the aluminum leaf is showing, and the color is closer. I may be done?

Once again ...

2011-12-26T19:30:00.003-05:00

Well, that was quick ...

I like this version a lot; it's "dry", it has the colors of the painting, but isn't the color of the painting ... it's on the wall, maybe I'll let it sit for a few days.

Wiped all the previous toning, and scumbled an acrylic wash, with some rottenstone and cerulean blue pigment, dusted on after the wash was dry.

The photo is more 'intense" than it is in person, though the painting is pretty accurate ....

Changes in frames

2011-12-26T17:17:00.000-05:00

Both of these paintings have had the finishes on the frames modified. I'm pretty happy with the top one; a stippled on wash of raw umber, then some rottenstone with yellow ochre added. I'm a little more ambivalent about the bottom one; I like the "dryer", duller feel, but the scumbled on color ... I may need to soften it, though I will hang them back up and see how I feel in a day or two. Both of these finishes have antecedents in the modernist frames of the 1940s and 50s, such as this one: Peter Blume at The Art Institute.

Repairing a broken ornament.

2011-12-23T17:39:00.000-05:00

This ornament is the only one of the four corners still there, though it is broken and loose, held on by the nails that the composition was anchored too. Sometimes I can get the ornament back in position but this one was stubborn. In the next photo, below, I've removed the broken part so I can clean the fracture and remove the nails.

These last three photos show the back. For reinforcement, and to replace the now missing nails, I cut some slots using a saw blade in a Foredom tool, (a fancier Dremel tool) Thin welding rod will be cut, and glued into the slots, cyanacrylate, both to glue the ornament and the rods. The next photos show masking tape in the perforations of the ornament, and the the slots and lacunae being filled. I'm using catalyzed polyester resin, more commonly called Bondo as the fill material.

Once that is cleaned up I'll do what repairs are needed to the face so I have a corner to make a mold from. The next photo shows the top of the ornament with its undercut. This would have been cast separately, as will the replacement ornaments.

The last photo shows the top of the ornament ready to be molded, with a plastilina dam surrounding it.

Mold material will be alginate; ornaments will be cast from Bondo, thinned with liquid resin.

Float frames

2011-12-23T14:00:00.004-05:00

Some samples of "float" frames.

Another Painting

2011-12-20T10:33:00.001-05:00

And, another painting that needs a little something to the frame.

More trees

2011-12-20T10:19:00.000-05:00

How exciting, more trees!

A close up of the tree from yesterday showing its scabrous bark. It appears to be a brand of Oak.

Painting ReDo

2011-12-19T18:28:00.000-05:00

I've done a little more work to this painting, and changed its title: "What?" This was prompted by some thoughtful and sincere critiques from friends and relations. Of course, being the decider, I decided Shrek was more appropriate than the "Mother Ship" from Close Encounters.

Diseased Tree?

2011-12-19T10:36:00.001-05:00

The morning walk sometimes takes us past this tree. From that first limb on the left, almost to the top of the photo, there are strange growths, burls, accretions. iPhoneography; maybe I should take a "real" camera next time. I should also try and figure out the species. I would be very curious to see what the wood looks like.

Another painting

2011-12-13T13:41:00.001-05:00

Another painting and frame, though this is not completely done, as the frame is a tad too bright; I need to tone it down, and make it more matte. Egg tempera on panel, with a basswood frame, carved and aluminum leaf gilt.

Painting based on an older watercolor. I'm very pleased with this version.This is darker, more brooding, with much removed; a minimalist version. Edward Hopper called this "cannibalizing".

I think of it as just part of the process, especially if I feel the earlier version could be improved upon.

Painting with frame. By Me

2011-12-12T14:50:00.000-05:00

Painting is egg tempera on a gessoed hardboard panel. All traditional, though I use an air brush for the smoothly graduated sky. Painting is SE Lake Michigan, looking at the dunes with a lowering sun, very loosely based on photographs. I'm trying more for a "feel"and emotion of place than an accurate depiction of place.

Frame is butt joined basswood, with floating mortise and tenon construction. (Biscuits). The shape was done with a bandsaw, including cutting the "rays", then carved. The bottom has had an additional 3/8 of an inch extra laminated on, as it was unbalanced at first. Feels better now. Gesso, acrylic color as a base coat, shellac, metal leaf, shellac and japan colors in VM&P Naphtha, as a wash.

Photo of painting is not the best, but egg tempera is, probably due to it's luminosity, hard to photograph accurately, as are frames ...

Frame is loosely based on, loosely being the operative word, inspired by might be more accurate, by the bottom front frame on the book cover above. It's the only frame of those six not in the book ... ???

Edited 12-13, changed picture for a better version.

Frame Restoration

2011-11-29T09:56:00.001-05:00

I haven't talked much of frame restoration, but there was a question about courses in frame restoration on the Grumble, and I thought I should post my reply here. It has always been a part of what I do. I don't do puzzles but I remember spending several hard days piecing back together hundreds and hundreds of broken frame ornaments from an early 19th. c. mirror frame. It was both challenging and enjoyable. Most restorations don't involve a lot of replacement ornaments, as the example above, though quite a few involve regilding.

"The hard part is gilding and there are classes and workshops offered here and there. Smooth-On and their distributor, Reynolds AM, offer both the materials and knowledge on how to use various casting and molding supplies. There are a few books on frames available now, including this which covers methods. "The Encyclopedia of Picture Framing Techniques: A Comprehensive Visual Guide to Traditional and Contemporary Techniques". There have also been reprints of the two classic books on ornament, "The Encyclopedia of Ornament" and "The Grammar of Ornament". Once there is some feel for the language of ornament, it is possible to reconstruct missing ornaments when there are only fragments left. Basic knowledge of woodworking, carving and some modeling skills are all helpful."

The frame above, showing the bole on some replacement ornaments, prior to water gilding. The frame is from the Albert Milch Co., New York, and is a fine example of the "Art of Framing"; beautifully ornamented and water gilt, with extensive burnishing.

This Day

2011-11-19T17:07:00.001-05:00

Abraham Lincoln, by Daniel Chester French, Sculptor

Lincoln Memorial, Washington D.C.

Today, November 19th., in 1863, President Abraham Lincoln delivers his brief remarks, The Gettysburg Address, at the dedication of the National Cemetery in Gettysburg, Pennsylvania.

The "Address" is famous for it's succinct summation of the war.

The battle is controversial as to whether it was the turning point, ( No, Antietam ), or was it the "high-water mark" for the confederacy. ( Yes ). Though the war would bloodily stagger on for almost two more years, it was the last time the confederacy had the men and material to actually win the war, and after Antietam, world opinion seemed unwilling to support slavery, thus losing the political war.

Contrary to Robert E. Lee's "Old War Horse", James Longstreet, I believe Lee had a very good plan, which was why he was willing to take the offensive against a good defensive position. Unfortunately, JEB Stuart, and his troopers, seems to have been "tired" from gallivanting around gathering glory, and were stopped by a ferocious little "Wolverine", George Armstrong Custer, preventing Stuart from getting into the rear of the Union lines. Had he done so, the outcome of the battle may have been far different. There are markers for the "high-water mark", commemorating a Lieutenant Alonzo Cushing, and General Lewis Armisted, who were mortally wounded at the farthest breach of the union lines.

At Gettysburg, Lee and Longstreet seem to have been at "odds", though I think the south has been negligent in it's appreciation for one of Lee's very trusted lieutenants, "Old Pete", "Lee's Old Warhorse", who had his bad days, as do we all. Fairly recently, there has been an Equestrian statue erected at the battle field at Gettysburg; seems it took a while, but better late ...

Fog

2011-11-15T10:06:00.001-05:00

This morning, chill, damp and foggy.

Today, in 1864, Arch-villain or war hero, William Tecumseh Sherman begins "The March to the Sea', abandoning his supply lines while in enemy territory, and unusual for that era, a winter campaign.

Civil war reading; about the one year, and selected individuals, including Major Robert Anderson, of Fort Sumter fame, and Colonel Elmer Ellsworth, leader of the New York Fire Zouaves. Ellsworth was the first well known death in the Civil War. In Danville, Illinois, I lived once, on the bluff above the North Fork of the Big Vermilion River, and just down stream from Ellsworth Park. His name has graced much since his early death. Danville is the county seat, and was a part of the law circuit that Abraham Lincoln traveled as a prairie lawyer. Danville is where I developed a taste for reading county histories, variable from all the excitement of the best thriller, to the sleep inducing quality of watching paint dry.

The Morning Dog Walk

2011-11-10T11:10:00.001-05:00

Sun up and frost on the leaves, and talk of snow later in the day. Later, a post on one of my current projects; counter tops made from ... bowling alleys.

No Comments

2011-11-05T17:03:00.001-04:00

Some Jack-o-lanterns, though Halloween has passed. I got distracted whilst doing the previous post, and failed to mention that I've turned off comments for a variety of reasons, with probably the most important being that a lot of what I write is in the form of brief essays, and are not part of a conversation. If you would like a conversation or have questions, please email me; the link is posted.

Bron

More monochrome, arcane minutiae

2011-11-03T19:11:00.000-04:00

The start of a sketch, a riverine landscape, on my drafting table that I use for sketching and painting. I was working with my Pelikan pen, Richard Binder nib, Noodlers ink, on Strathmore plate Bristol, when the gentleman who sold me the pen, called me on my picture viewer to discuss some frames. ( I'm using my iPhone as a picture viewer ) I work from photos, as I have children, dogs, old houses, cats, leaky studios, and old vehicles all requiring some attention, not to mention the occasional customer. Looking forward to when one of the kids gets an iPad, so I can borrow it.

The sketch is where I rough out the general composition, the sweep and flow. This will, if I make a painting from it, will be planar, horizontally, of a plain, undramatic landscape. I seem to enjoy a certain undramatic scene.

Photos are a start; I'm not trying to duplicate the photo, and I often combine elements, as I'm trying for a feeling of place and time, and the emotive qualities of a plain and simple landscape ... the above may be a touch too dramatic. It's not that I can't be dramatic ... just my best stuff seems of the ordinary.

Monochrome

2011-10-14T18:01:00.000-04:00

Over on TOP, there has been a lengthy discussion on the subject of a B&W only digital camera, with quite a bit of technical nuance and minutia; and frankly I didn't get it until the third post on the subject, where it really got into the minutia. My "ahh-hah" moment was realizing that I have always done a certain amount of work in monochrome; only not always photographically ...

My monochrome, black and white, tools of choice; Strathmore Bristol board, plate, or smooth finish, and one of the two fountain pens I use for sketching, filled with Noodlers "Heart of Darkness" black ink (In photo). The pen above, a Parker Vacumatic, circa 1935, with a nice nib. My other sketcher is a Pelikan from the late eighties, with a custom, very flexible nib, from Richard Binder.

Enough arcane minutia?

These sketches are seldom seen, as only occasionally will I do proposal sketches in pen and ink. It is personal work, enjoyable for the discipline of all lines are permanent, and the "grays" require some effort.

I have avoided making this a lecture on pen and ink, the dip pen nibs in their hundreds of variety's, the holders, the actual quills and reeds, and the multitudes of ink ... what you see above is the culmination of a practice I started in my late pre-teens.

Bron

Walnut wood

2011-09-27T19:43:00.000-04:00

Two Legged Rocker, Black Walnut

The above is an example of furniture made from the "King" of American cabinet woods, Black Walnut. The wood carves beautifully, finishes very well, and has a lovely , warm color. Working it can , however, stain the hands, and in fact strong dyes have been extracted from walnuts and their cousin, Butternut. Butternut was a very common dye in antebellum America, that during the Civil War, enough of the Confederacy's uniforms were dyed with butternut dye, that the troops became known as "Butternuts". Walnut ranges from a milk chocolate to a dark chocolate, and will have a purple hue in air dried lumber, as opposed to kiln dried lumber.

A corner of the studio, with some miscellaneous wood; birds eye maple, some knotty pine, some oak, some mahogany from a dismantled piece of furniture, and some walnut planks, and a walnut frame eventually to be a mirror.

In earlier times, the walnut was prized for the nuts, while the wood was a utilitarian material; used for fence rails, rail road ties, and I've seen a house in east-central Illinois, that was all framed in walnut. The nuts are still collected, prized for their rich, and distinctive flavor, though it is a difficult process. There are tools, nineteenth c., hand cranked, for the removal of the hull from the nut, but we moderns seldom want to work that hard.

A picture of a fresh nut in it's husk, one that has the husk mostly rotted off, and the nut after being ravaged by squirrels. This has been a good year for the two walnuts in my back yard; the "thump-thump---thump,thump,thump" of nuts smacking on the studio roof has been going on for a few weeks, followed by the skittering sound of the industrious squirrels, who are busy chewing off the hulls and burying the nuts.

Top, the big walnut, and bottom, an example of the "trashed" state of my backyard. It is, in fact dangerous to walk in our backyard now, as it is very easy to twist an ankle from stepping on a walnut, and if the hull is getting soft, you can slip. And the leaves and hulls are toxic to other plants, and kill many other plants in the back yard. Usually the squirrels do a pretty good job of keeping them under control, but this year, a big crop, and then there are some little Pine squirrels running around, and I am told they are very aggressive with the bigger gray and fox squirrels.

I'm tolerant of the walnut mess, because I have an appreciation for the wood, the nuts, and their interaction with the history of our country, though I do not avail myself of the nuts at my feet. It's a time factor.

The Very Littlest Dragon

2011-09-26T10:30:00.000-04:00

Frame, courtesy Baer Charlton, Art, Laura Reynolds.

This is one of the rewards for the revamped Kickstarter project mentioned below, and repeated here.

The very first novel about a picture framing shop, really. The book was written by Baer Charlton, published photo journalist for over 20 years, professional picture framer for over 40 years, multi-medium artist since diapers, and illustrated by Laura Reynolds, a terrific sci/fi and fantasy artist. They are doing a Kick Starter project to fund the publication and distribution of the book, here. They need some help, so check it out.

Kick Starter is an All or Nothing method of funding creative projects, involving pledges of support and rewards for your pledge. Projects range from Art to inventions, books, films; anything creative that needs a little "Kick".

Regular programming. On Wood

2011-09-20T10:24:00.000-04:00

Above, two boards of basswood in the rough. Below, a planed board, showing the very subtle pattern. For carved frames that are going to be finished, basswood is my preferred wood, as it mills readily and carves with and across the grain easily. It does not dull tools, and only occasionally is the wood "difficult". The Wikipedia article.

I've carved from walnut, oak, mahogany, maple, ash, hickory, butternut, and they all have worthy attributes, but for finished picture frames, basswood is supreme. It can also be clear finished, having a subtle but distinctive look. Much of the work of the celebrated English/Dutch carver, Grinling Gibbons is carved from basswood, or lime, as it is known in England.

The wood is useful as a secondary cabinet wood; its flowers produce a high grade honey; basswood is considered to have medicinal qualities, and the name "bass" is derived from "bast", a product of the inner bark, which native Americans used to make rope.

It is a large tree, growing wild and as a cultivated street tree.

Addenda: A large basswood in the tree lawn a block over from my home.

2011-09-17T13:07:00.000-04:00

Civil War Monument, Cassopolis, Michigan

Today, September 17th. the bloodiest single day of the American Civil War, Antietam, or Sharpsburg. Tactically inconclusive, though considered a Federal strategic victory, it led to President Abraham Lincoln's announcement of the Emancipation Proclamation.

On September 22, 1862, Lincoln announced that he would issue a formal emancipation of all slaves in any state of the Confederate States of America that did not return to Union control by January 1, 1863. This effectively ended Confederate hopes of a European intervention.

She's back!

2011-09-13T12:34:00.002-04:00

This is a photo from 2 years ago, but "Victory" is back atop The Soldiers and Sailors Monument in Indianapolis. More, here, at Indy Star.

And, in the "how quickly we move on to really important stuff ...", the news this morning was all atwitter about Madonna having "dissed" one of her fans over some flowers. PFUI.

Kickstater redux.

2011-09-10T14:38:00.000-04:00

Cover, courtesy Baer Charlton, Laura Reynolds.

This project didn't reach it's funding goals but there is a lot of interest in it still; soon, hopefully there will be more news, including some alternate methods of publishing.

Kick Starter Project

2011-09-09T23:59:00.004-04:00

Note: This post is sticky for the balance of the project. Scroll down for more recent posts.

Cover, courtesy Baer Charlton, Laura Reynolds.

The very first novel about a picture framing shop, really. The book was written by Baer Charlton, published photo journalist for over 20 years, professional picture framer for over 40 years, multi-medium artist since diapers, and illustrated by Laura Reynolds, a terrific sci/fi and fantasy artist. They are doing a Kick Starter project to fund the publication and distribution of the book, here. They need some help, so check it out.

Thanks!

Bron

More Civil War

2011-09-06T19:07:00.000-04:00

284 feet in the air above The Soldiers and Sailors Monument, Monument Circle, downtown Indianapolis, stands "Victory", or sometimes "Lady Liberty", with flaming torch in her left hand, and a mighty sword in her right, and wearing an eagle as a headdress. She recently has returned to the circle from a visit to the "beauty shop", where she has undergone restoration.

Here, in her hoisting gear, before her floodlit, towering base, she stands waiting for the winds to settle so she may be lifted back high above the city. When she first arose atop the monument, it was in over 40 separate pieces, pulled aloft by horses and pulleys, with a system of pins to hold her together. Now, she has been welded together and will ride this to her perch:

Sorry for the bad photo, but I didn't have a handy tree or pole to brace the camera with, as in the previous photo, and it was windy.

We were in Nap Town for a family expedition, and I've not been following the news, so I did not know she was still on the ground. After dinner, though, we were able to drive around the circle, and I had to stop and take a few photos.

Indianapolis is home to the tallest Civil War Monument, quite possibly the finest Childrens Museum on the planet, a wonderful State Museum, with a delightful series of sculptural plaques depicting each of the states counties, and what is becoming a world class art museum, with it's new, 100 acre Art and Nature Park. And dolphins and ellyphants at the zoo. Oh, and the Eiteljorg Museum of Western Art, and something named after an oil company, Lucas?, where some football team plays, US football, Colts, and some guy named Manning, some sort of celeb. 8-)

On this Day, September 3rd.

2011-09-03T17:27:00.000-04:00

The Civil War monument in Cassopolis, Michigan. On this day in 1862, General Robert E. Lee begins the Maryland campaign, which would end at Antietam, a battle many consider the true beginning of the end for the Confederacy. Somewhat related, in 1838, future abolitionist, Frederick Douglas, escapes from slavery.

Off Topic, Electronica

2011-09-03T11:32:00.000-04:00

Above, a screen shot from my iPhone. Recently, on the Picture Framers Grumble, there was a discussion about QR codes, which I've talked of previously.

I'm a fan of QR codes; there's one with my contact info to the right, so I thought a little history. I'm not an early adopter, waiting in lines for the latest gadget, but I was pretty quick to move from a paper "Day Runner" type organizer to an electronic one, in the form of a Palm gadget. I think I went through two of them before going to an even better gadget, the smart phone. The Palms were searchable, had their own "shorthand", Graffiti, which was intuitive and fairly easy to pick up, and they could sync with a desktop computer. Later models also had an infrared port, which allowed for electronic information exchange between Palms. No typing or shorthand data entry, which until recently is missing on smart phones.

Now, finally, we have the QR code, and simple generators and readers for the codes, which allow for electronic information exchange between devices, with out the need for data entry.

A screen shot of the reader and code generator on my phone, Qrafter. Codes can be any bits of information, but the real value is they put the information where it belongs, and they are not platform specific, though a smart phone is needed. Once scanned, the info can be used to create a contact entry, link to a website, sent as an email, text message, or tweet, or just to offer a "special". By eliminating data entry, errors are eliminated, and the need for business cards could be eliminated, though there will always be some hold outs.

I'm seeing them more often, on shop windows, magazine advertisements., etc.. They offer both information and specials, such as links to special offers, but any information that one wants to pass on can be made into a code.

I recently scanned one from a guitar magazine, "waiting for the kid's lesson to be over", that linked to a website for Gretsch guitars, and specific to Duane Eddy, The King of Twang, with videos of some of his songs. Those of a certain age will know what I'm talking about, though he is still very active. The QR code:

Bron

Restoration

2011-08-27T17:38:00.001-04:00

Whilst looking for photos of my polydactyl cat, I ran across these and decided they needed to see the wide open spaces of the interwebs.

Probably 19th. century, a Chippendale style "Chinoserie" mirror frame, carved and gilt. The above is the after picture.

The frame in process. It had extensive lacunae (losses) at the arrises (edges) (just trying to educate everybody), numerous fractures and numerous cases of lost carvings. The frame is hand carved. The white is new gesso fills. The entire frame was regilt, 23K, water and size gilding.

I had to "make up" some missing ornaments, as there was only the one, and it was gone, but if you study frames, ornamentation is a language, that once learned, makes it relatively easy to fill in the missing "words". Of course, it took some time to learn the language. Just looking at frames is a start; then there are the classics; "The Grammar of Ornament", Owen Jones, and "The Encyclopedia of Ornament", A. Racinet. Both have modern reprints. Obtaining a catalog from Decorators Supply, in Chicago, is worth the price of admission, though not focused on framers needs.

Recent

2011-08-20T12:27:00.010-04:00

A small frame, of Art Nouveau design, in 23K gold. An aside, though I like the design, I'm not completely satisfied with the ... balance of this frame. In person, it looks better than in the photo, though.

A much larger frame, in a mid-nineteenth century, Neo-classical style. 5 inches high and 6 inches wide, with hand carved cross grain fluting, and applied, composition ornaments. 23K gold. There have been various posts concerning this frame under construction. Unusual for me, I'm quite satisfied with the way these have turned out, and these ( I made two) have had an enormous amount of problems; far beyond the normal problems that unusual frames are subject to.

Identification of leaf varieties.

2011-08-17T15:25:00.002-04:00

The easiest method of identifying what kind of gilding one is looking at, is to look for the leaf lines; the spot where the leaves meet. In the above sample, the arrows are pointing at the lines of metal leaf (schlagmetal, dutch metal, composition leaf). When it is "gold" colored, it is a brass alloy, about 10,000th of an inch thick, and comes in a 5 1/2 inch square leaf. There are aluminum leaves; silver colored; copper leaf; copper colored, and various kinds of variegated leaf; multiple colors in one leaf.

Here, the leaf lines on matte, karat gold. The leaves come in slightly different sizes, depending on manufacturer, but are close to 3 1/4 inches square, and about 300,000th of an inch thick. This is the most common form of karat gold, though there is ribbon or roll gold, and there is a wide variety of karat weights and gold alloys, ranging from a white gold at 12K, to pure 24K leaves. For outdoor use; all those domes and statues, use a minimum of 23K. Another way of identifying genuine gold on picture frames, would be a distinctive difference between high spots and recessive areas of the frame, where the high spots have been burnished to a mirror like shine. This is called matte and burnish work, and requires the gold to be laid in the water gilt method, over a material called bole. Bole is mixed with glue, applied in multiple layers to the frame, polished, then gilt. When dry it is burnished with an agate stone, the most popular stone for burnishing. Bole comes in reds, yellows, blues, and blacks, with multiple shades in each color, and can often be seen where the leaf is worn, either through age or intention.

This is a brief explanation of what one is looking at; but this is a very ancient craft, and I touch on only the more common styles. There is gilding with tin foil; silver leaf lacquered to look like gold; bronze powders; bronze powder paint; and now, the non-tarnishing mica powders.

Size gilding, water gilding, glass gilding, engine turned gilding, and not least, gilding the lily. 8-)

And just to confuse the issue, there are many examples of lesser materials carefully finished to look like genuine gold.

Addendum: Metal leaf comes in other sizes as well, 6 1/4 square being the other common size.

Bron

The Importance of Art

2011-08-15T14:16:00.003-04:00

"Morning Glory"

Here a brief article by Martha Nussbaum, a Professor at the University of Chicago, on the importance of art. Probably needs to be said more.

Bron

P.S. And more, here, from photographer, author , and artist, Kirk Tuck.

Laying Leaf

2011-08-11T18:19:00.002-04:00

Two images showing the way I handle karat gold leaf. Top, the tip is held by the last two fingers of the right hand for cutting the leaf; bottom, the knife is now held by the last two fingers of the left hand. I work directly from the book of leaf. A book of leaf holds 25 leaves, between a tissue paper. I used to just insert a piece of mat board under the tissue, as a "cutting board" for cutting the leaf, but on a "bad day", this could be difficult with the mat board and the book all wanting to go in different directions. I've added a little touch that helps, though; double sided tape, framers ATG tape, holding the book to the mat board. I've used packaging tape as a surface on the mat board. The knife is one of the small, swiss army type knives, with a stainless steel blade; I've found they are the easiest to maintain a good edge on for cutting leaf. (The sign maker I worked with when first learning karat gold work, used the elongated fingernail, of his right hand, as a "knife". I did for a while, but kept breaking that nail.)

I'm patching "holidays, missed spots, holidays, get it" from the initial size gilding, so there is some cutting.

In the bottom image , on the back of my left hand, some small specks of gold adhering to the minuscule amount of Vaseline on the back of my left hand, rubbed in there to provide a place for me to pick up a little tack for the tip, so it can pick up the leaf. Cut the leaf to the size needed, brush the back of my left hand with the tip, (flat, long haired brush for handling leaf) to get some tack to it, pick up piece of leaf, and apply. In an earlier post, where I'm speckled, when gilding I'm usually "glittery", as I use the right front of my shirt to clean and dry the tip.

On size work, I usually work with the book, almost like "patent gold" when I can, rolling the leaf onto the surface directly from the book. No tip, no knife. Patent gold is a leaf slightly affixed to a sheet of paper that can be laid on the surface being gilt; useful for outdoor applications, as loose gold leaf is incredibly fragile.

Metal leaf, another post. And an aside, these are my techniques for an ancient craft, and they are not necessarily definitive.

More variations on a theme.

2011-07-26T18:43:00.003-04:00

Some frames in a mid-nineteenth century style, not exact reproductions. I've designed every aspect of them; all of the ornaments were chosen for reasons, or were designed and made by me for an overall design. They are in a style, but not reproductions. I will expand on that more when they are done, fitted to the paintings, and I have some images of the whole.

One of the two frames "dominating" the studio at the moment. The burnished bits have been gilt, and the corner in the foreground has been burnished. Once the burnishing is done, I'll seal the rest of the frame with a colored shellac, a pale yellow, ocher like, though much softer. The matte areas, everything not water gilt, will be oil gilt. Water gilding allows the gold to be burnished into the bole, ( dark gray bits) producing a shiny, reflective surface. This contrasts with the matte areas. Oil gilding produces a more matte, matte gold than all water gilding.

More later, especially after I finish these two. These two have had a higher than usual number of problems; none insurmountable, but every step seems to require some solutions, thought and remembrance. Well, the broker of the commission said, after stopping by to see them, that he thought they were going to be gorgeous. Glad he said it; I can't until they're done. (Being the one who wrestles the problems, it can be months after a project before I can see clearly that it turned out well).

If the liner seems "out of place", that's because it is; it has been raised on blocks inside it's outer frame for "access". My work space is small; I need to be creative.

Variation on a theme

2011-07-17T20:45:00.003-04:00

A version of the frame, here. I seldom follow antique designs faithfully; I do seem to want to go my own way.

Bron

Another image, of the frame above with it's twin, and the original antique.

Old Speckled Framer

2011-07-10T17:12:00.000-04:00

Sometimes when spraying gesso, there will be a clog; a little something in the tubes. The easiest way to clear the clog is to gently place a finger over the nozzle so there is blow back, that will clear the clog, gently being the operative word. Done properly, this will clear the clog, and not blow a burst of gesso out the vent. Tah Dah! A tip of the hat to Moreland brewing and their delicious in the widget cans.

Interesting idea.

2011-06-16T10:41:00.001-04:00

Here, an idea about the importance of Art versus History, clearly arguing that Art is a far more practical and important skill.

Really?

2011-06-07T19:34:00.000-04:00

Whilst taking a small break, before starting to gesso one of the frames I'm working on, and checking some of the sites I frequent, I've noticed some "Zen yourself, redefine yourself" posts, and my response is puzzled; then sort of WTF. You can say fuck, it's alright. Here, some redemption.

Any way, as any kind of artist, you really need to let the barking of the dogs on the parade route wash off of you; not listen to Joe, but listen to yourself. Doesn't mean you can't reference the previous artists, or no ~~plagiarism~~ homage to other artists; just do your own work. Might not sell, but might be good work, better than doing only what will sell.

Carry on.

Bron

Big and bigger.

2011-06-03T16:45:00.001-04:00

Current dust; a big frame in the background, and an even bigger frame foreground. The foreground one is on my assembly/joining rig.

Poppies

2011-06-01T09:39:00.002-04:00

Because everybody wants to see the Poppies.

Two Legged Rocking Chair

2011-05-29T15:00:00.007-04:00

This is a small rocker, like a sewing rocker, or nursing chair. 28”h. x 48” l. x 23 1/2 w.

The seat height is 18” at the front, 15” rear. Hand carved, completely. Black Walnut. Laminated seat, legs and rockers. Until recently, I have seen only a few two legged rocking chairs. I'm posting about it because I realized I've not mentioned it's two legged aspect, on my other site. In another post I talk a little more about it.

Soon, I'm going to try and figure out when I made it???? Can't find the file on it.

Addenda: The chair above was probably made in early 1989, as it was in an exhibition in the fall of 89, and the one with arms, below was made in early 2002. I have records for the chair w/arms.

Two Legged Rocker with Arms, 2002

Black Walnut

Private Collection

Probably time to make another.

Another Edit: The chair with arms was made in 2002, not as previously posted, 1992.

Ongoing Dust

2011-05-29T12:18:00.001-04:00

I'm trimming the backs of some moldings I ordered for one of my current projects, a couple of 19th. c. reproductions. I usually make my own moldings, but sometimes, especially with big Victorian style frames, it is more efficient to order either custom or some existing pattern. These are an existing pattern that will be modified to meet my designs. Stephen Izzo, of Rhode Island, is the gentleman I use. He's very good.

I have made large coves, by angling the table saw fence, and making repeated passes, removing only a tiny fraction of material with each pass. It's labor intensive, and unless you spend a lot of time with hold downs, a little nerve wracking. Or racking, if you are so inclined.

Weather

2011-05-26T10:39:00.001-04:00

Poppies, from last year, May 23, 2010

Poppies from yesterday, May 25, 2011

It has been hot for the last week, but today, damp and chilly. We seem to have rain about every day, too.

This is something I'm noting, as my wife is usually out of town when the poppies "pop", and I send her a photo of them, but they are slow this year, and she'll be back in time to see them "pop".

That's all; carry on.

Lurking Heffalumps

2011-05-18T10:33:00.001-04:00

Oh my; there's a Heffalump hiding in that tree. Probably waiting to drop on unsuspecting passerby.

Unfinished

2011-05-14T18:30:00.003-04:00

An unfinished frame, recent, and below, a large box-o-ornaments for my next project.

On an unrelated note to work, though integral to work, my 6 month old iPhone started acting weird today; it's a 3Gs, and would not charge from any of the 5 places in the house, van or studio that it can be plugged in. That's a problem, as this model needs to be close to power, the newer operating system is battery intensive. Logged into Apple, made an appointment at the Genius bar, and 15 minutes after arriving at the store, I was walking out with a new phone. Way to go Apple. When the Princess, who has my iPhone 4, (when I upgraded from the 2g model, I told her she could have the 4, and I would take her 3) got it wet, Apple replaced it with a refurb, as a one time deal. Interesting, as on the etherwebs, the comments are they charge $200.00. I'm thinking the 4 model might be very easily damaged by moisture, so Apple is just replacing the phones, and refurbing the damaged ones. Whatever, it's nice to have a problem resolved quickly and efficiently. Thanks, Apple.

When my Canon G9 died, there were a bunch of companies offering fixes for the problem, and it was out of warranty, so I went with the company that was closest. When the iPhone 4 got wet, my research showed there were a bunch of companies offering to resurrect the phone, for around $40.00. My point being that sometimes these problems are endemic to a particular model. I thought I would check with the Apple store on the wet phone, and that worked out; probably should have checked with Canon, when the G9 died, but I also knew that it would take a few weeks with them, and most of the repair companies would try and get the camera back in under a week. (The G9 has a well known problem of screws coming loose internally, and shorting out the power system.) Great little camera, though.

Are Critics Neccessary?

2011-05-09T18:53:00.003-04:00

The above photo has absolutely nothing to do with the topic of this post. What was I thinking?

The following is a response to a post on the site, Enticing the Light , which stated that one should seek critiques of ones "personal" work.

I disagree about the first point; I think it leads to homogenized art, rather than a personal vision. If you listen to critics, you might dilute the hard won personal vision, or abdicate it entirely. Image making is non-verbal communication, and to critique it by verbal communication, doesn't always work. Sorry, but most criticism of the visual arts, is, well, just a lot of, excuse me, blather. White noise, dogs barking at the passing parade. If you, as an artist, have studied, worked, and yeah, even read about your medium; and have some "vision", you don't need critiques. If you need to make sales, listen to the critics; but if you have a personal vision, really, ignore them.

And, finally, it is not science, nor history , so much as fashion and opinion, both of which can and do change

I have no idea.

2011-05-09T10:12:00.001-04:00

The morning walk with the dog. Strange.

Stairway to ...

More QR codes.

2011-05-08T11:46:00.002-04:00

The top two are from the previous post, my web site url, and contact info, and the third is my new marketing "mantra". All three have been colorized, which seems to have little effect on readabilty, as long as there is sufficient contrast.

For those without a smart phone, the third QR is:

Affirm and empower yourself and your loved ones, with a richly finished and finely crafted object of art, a carved mirror frame, from the talented and skilled hands of Bronislaus Janulis.

QR codes.

2011-05-07T18:28:00.004-04:00

For those tech savvy folks out there with smart phones, and a QR code reader, available free for all smart phones, my contact info as a QR code. I'm using Qrafter on my iPhone, and Optiscan to generate the codes. Neat idea that eliminates the typing and errors of hand entering contact info. They are also being used for website linkage, etc.etc. etc.

And, though I like this technology, I'm not sure if it will survive, but sort of fun for now.

I just tested the code by scanning from the computer screen; worked fine, though YMMV.

This second code is the URL for my main website, which is also available in the links to the right.

Bron

An Old Painting

2011-04-22T17:30:00.001-04:00

An older painting of mine, for which I just found a not very good slide of. I think the bright areas at left and right are from the lights rather than a part of the painting, but my visual memory is mainly of the overall color purple. The frame is a variation on, and refers to a "naive" style frame from the early 19th. century. See here. The painting is small, and in fact, the owner has it on a bookshelf, as a "standing" frame, as the sides are flat.

The original is a frame I've repeatedly come back to, as a source for some modern variations, and I've also done some that are somewhat faithful to the original. Here, a modern version in real wood, gasp!, white ash, stained a little.

That one frame has been a very fecund well for me, and here is an example of the variation being only in the color. The link has some other images of the frame.

Frame for a Civil War Icon

2011-04-14T14:00:00.004-04:00

The Last Meeting of Lee and Jackson

Oil on Canvas, 12'10 3/4" x 9' 7".

I've long been acquainted with this image, one of the "iconic" images of the American Civil War. The image above is from a book, "Mine Eyes Have Seen the Glory, The Civil War in Art", by Harold Holzer and Mark E. Neely, Jr., wherein I first saw the painting in its frame. It's great to see art in some context ... alas the above image has been truncated. See below:

The second image is courtesy of Thomas P. Crowther, Director, The Charleston Renaissance Gallery, who graciously e-mailed me a copy of the image from their archives. They owned the painting in the late eighties, and were responsible for the rescue and restoration of the standing outer frame. The base has been replaced, visible as a variation in the wood color. The painting is now part of the collection of The Museum of the Confederacy, Richmond, VA.

And now, I shall curmudge. 8-)

By chopping off the eagle, one loses a good bit of the wonderful Victorian excess in the frame, though to the books credit, most of the frame was included. And, they included the size.

My complaint is that the majority of imagery of Art has no context, no frame, and quite frequently little information as to size and medium. Usually, size is only for the canvas, or image, and of course, the frame is once again slighted. However from some images on the web, with people in front of the painting, context, I suspect that the size above is actually for the outside of the frame, as if the canvas were that big, the frame would be close to 20 feet in height. Not inconceivable, but large. I will check on that.

Here, a small rant on this subject.

Addendum 1.: I completely forgot to include the artists name: Everett B D Fabrino Julio (1843-1879). He studied in Paris and Boston, and so was probably acquainted with the Pre-Rapahealite Brotherhood, who had a taste for achitectonic frames as well. A somewhat tragic figure, who died young, never having sold this painting. It did, however, go on tour, an alternate income source for many artists in the 19th. century.

Addendum 2.: Mr. Crowther, see above, has responded with a size for the canvas as: 108 x 72 inches, or nine feet high and six wide. Height precedes width.

Circle Doo-Wahs

2011-03-31T17:19:00.002-04:00

How to mold large circular frames, commonly known as "Tondos". Actually, the paintings are Tondos, so the frames would be Tondo frames. On the end is a wooden block, adjustable and lockable with thumbscrews. On the bottom of the block, a 3/16" brass pin, which is inserted into a hole in a block at the center of the frame. The router is a Porter-Cable, with a plunge router base. The rods are 5/16" steel, lockable to the base with thumbscrews. At the left of the base, there is a brass "flange" I added to provide additional support for the rods.

Here, a frame in process. At the upper right, the block at the center of the frame. This is the one tool in my studio that does not have some sort of dust collection system. So, noisy, and messy. While I'm typing this, the idle part of my brain is thinking of how I can add dust collection, and the power cord all coming down from on high. Hmmm.

There is a "scary" aspect to using a router on a 50-60 inch diameter frame, mostly to do with keeping the noisy little beast stable. Now I'm thinking of how to add circular capability to my shaper, and power feeder. Hmmm, again.

The floor in the top photo, shows the detritus of gesso, and various sealers, toners and paints, from when the frame was too big for the spray area, where I generally make my messes.

Here is a shot of the build-up of gesso, sealer, toner and what not on the turntable in the spray area. It probably weighs twice what it did when I built it. I included, as a client was fascinated by the abstract quality of the accretions.

More design

2011-03-16T12:47:00.002-04:00

Cutting out the outside of the frame (see previous post) on a jig saw.

And, starting to carve.

Design Evolution

2011-03-09T10:41:00.003-05:00

I'm working on a small frame, with a somewhat "Art Nouveau" feel to it. I did some preliminary sketches, on paper, but shown above, I'm drawing with charcoal on what will eventually, be the frame. I have purposely not tried for complete symmetry; but just drawing both sides, rather than taking a tracing, flipping and transferring it.

Here, I'm approaching what the final design will be, though refinement of details will happen during the carving phase. The frame is butt joined using floating mortise and tenon (biscuits) construction.

Cutting circles

2011-03-07T16:28:00.000-05:00

Above, my jig for cutting circles on the bandsaw. That is a 3 inch diameter circle being cut, and I've used it to cut octagons into circles for "tondo" frames, of 50 some inches in diameter.

Above, showing the the brass plates that slide under the fence, holding the jig in place. The two bolts act as adjustable stops, depending on blade size and position.

This image shows the bottom of the jig. The strip that rides in the miter slot of the saw, and the thumb screws that hold the sliding piece that adjusts for the size of circle desired.

Here, the jig is lined up with the blade of the saw, and the brass pin that the stock is centered on is visible. A hole is drilled in the bottom of the stock, as in the top photo, or, in the case of a tondo, a cross piece is screwed to the frame, and a block the same size as the frame is added for the machining operations, see below. The sliding element is positioned with the pin at half the diameter needed, stock affixed, then the jig is slid into the moving blade, and against the stops. Once stopped, the stock is turned into the blade.

Above, a tondo in process. The same pin hole is used to rough cut the tondo on the band saw, as well as a guide for a router.

Quanity required

2011-01-29T19:44:00.003-05:00

I don't do comments here, though I am responsive to email questions. How does one figure the amount of leaf for a gilding job?

First, figure the leaves needed to cover a three inch, gold, length of the molding, (overlaps), multiply by four, then multiply by the number of feet.

A 30 + 40, = 70, 3.5 inches wide, + 7, divided by 6 = 12.83 = 13 feet. If it takes five leaves to cover one 3 inch length, (overlaps), because of the depth of the molding, and 3D ornament or carving, multiply by 4 ( the no. of leaves in a foot), then the no. of leaves to cover the whole molding. 13 x 4 = 52 x 5 = 260. A little over estimation is good, though I have done some frames where my estimating was right to the leaf, leaving me just a few for some sort of insurance. With gold, I usually figure my needs, and seldom with metal, as there is usually enough on hand, and the economics are different. Framers all round up at some point; for me it is a half foot.

Happy gilding! I tend to water gild gold in the evening, after dinner, after a drink or so, as I am calmer and less bouncy. Machining and carving are usually done in the day; toning is a day time, frenetic dance. I can carve in the evening, but running machines is a daytime, sober, scary activity, and I have 9 and 7/8ths fingers to show for it. You can screw up at any time, so pay attention, and listen; if it doesn't "feel" right, don't, relax, look at it critically. Fingers are ... good!

I've been doing proposals for 19th. c. reproduction frames, thus the picture.

Frames of another ilk.

2011-01-18T18:29:00.000-05:00

I'm working on some frames for windows; restoring double-hung sash for a 1912 "four-square" house for a small "Green" organization. These sash are about 100 years old, and are easily restorable to the same functionality of any modern window. Add a storm, and they are completely competitive with any modern glazing method. And, in 50-60 years, they can be restored again; the weights will still be there, the rope can be replaced; the glass can be replaced, paint and putty, replaceable. The way these older windows are assembled and the maturity of the technology involved is just amazing. Unlike furniture, many of the sash are not glued at the joint; just pinned, and then the glazing, points and putty hold it all together as an integral unit.

I fear that many of the newer style windows, with the spring loaded balancing mechanisms, are going to be unrepairable in the future, due to lack of parts. With a traditional sash, weights can be recast; rotted out elements can be repaired or replaced; a mature technology, and the "eyes of your house".

Clearing alleys?

2011-01-14T11:03:00.001-05:00

In an unprecedented action, the city has sent in an end loader to clear alleys so the garbage trucks can get through. This is the alley behind my house. This has never happened before, never!

Small Blessings

2011-01-10T07:47:00.002-05:00

At about 4:00 PM Saturday afternoon, the wind shifted slightly, from NW to N, the skies cleared, and the lake effect "snow monster" ceased here in South Bend. Total snow was 38.6 inches from late Thursday morning to Sat. afternoon. For the final 24 hour period, a new record was set, 25 inches. More snow than the famous 'Blizzard of 78", which was a systemic snow, and hit much of the mid-west.

Chicago, summertime.

More of the Snow Monster

2011-01-08T14:41:00.002-05:00

The Studio

The walk to the street.

My mini-van?

It's about 2:30 in the afternoon, in one of the brief lulls in the ongoing snow. Lake effect snow is predicted to continue until 7:00 AM, Sunday morning, a little more than 16 hours from now. If the snow continues at the rate it has fallen for the last 20 hours, we will get our average, yearly snowfall in one 50 some hour period; approximately 80 inches. Even for South Bend, this is an unusual "Snow Monster".

At the end of December, we had a mid-winter thaw, that produced temps in the 50s, which melted all of our previous snow. We started a new snow layer on Thursday; Friday night, the monster really kicked in. Ahh, winter.

Snow Monster Redux

2011-01-08T10:40:00.002-05:00

The snow monster drops 20-30 inches, depending on where you are in the bands, which are holding steady as in the radar shot. The monster has another 20 hours to work its magic, with snow of 1-2 inches per hour expected. The bottom is an image of what a snow squall looks like; sometimes these produce zero visibility. Now, back to trying to clear some paths.

Context

2010-12-27T09:53:00.000-05:00

A visitor looks at a self-portrait by Mexican painter Frida Kahlo during the first day of an exhibition of Frida Kahlo and Diego Rivera from the Gelman Collection at Pera Museum in Istanbul, Turkey, 22 December 2010. The exhibition will be open until 20 March 2011. EPA/TOLGA BOZOGLU.

The above is from Artdaily.org, here, Frida Kahlo.

I like that a lot of the images Art Daily uses show the actual exhibition, with some context.

The frame is very nice, as well.

Civil War

2010-12-11T17:50:00.001-05:00

Above, the monument to the Confederate soldiers who died at the Civil War prisoner of war camp at Chicago, Camp Douglas. It stands atop a slight "hill", known as the Confederate Mound, where between 4454, the official number, and possibly as many as 6000 Confederate Prisoners of War are buried in concentric circles. This was a first visit for me, and the rain, and deep slush of the mound, did not invite prolonged picture making, and I also wanted to see this:

Statue of Lincoln in the Gettysburg pose; a copy of a sculpture in Illinois. The stripes are from the rain, which at this point, was plentiful. Both the statue and the Confederate Monument are in Oak Woods Cemetery, South side of Chicago.

Later, better images, though the monument, as an overall, with the fog and rain, seems appropriate for a cemetery visit.

Rant

2010-12-09T17:10:00.001-05:00

A small rant on looking, and context, all probably said before, but needing said again.

It's nice to see people in an actual museum, looking at art in frames, hanging on a wall, just like it was meant to be. Too many curators, art students, and even dealers, look at art on computer monitors, in books, or sometimes, still, transparencies, where the art is torn from it's frame and any context, and the object quality of it is completely lost. No texture; just flat and flat. This out of context viewing leads to artists who labor long periods on the painting, and then finish it by "framing" with some ill-fitting, shoddily finished, wood strips, haphazardly nailed to the stretcher bars. A very obvious comment on the importance the artist attaches to his or her work.

I think a disservice to art is done by art professionals who think naught of tearing the art asunder from its context, and base all sorts of curatorial decisions, on the sundered remains. Is the frame, and some context, necessary? Obviously, I believe so, though, being an artist who works in the medium of the picture frame, it would seem I'm biased. More later, and a "snarky" comment; if you don't want to frame your art, become a sculptor.

Ongoing Snow Monster

2010-12-07T10:08:00.001-05:00

The above, taken at 10:00 AM, day four of the Snow Monster; and lo, is that a pale hint of blue sky, and some actual sunlight? The Snow Monster has a few hours to run; wind is still out of the NW from the lake. In the summer, those same winds out of the NW, bring absolutely delightful weather, so in theory, it balances. Day four, another 4-5 inches, though it has snowed every day in December.

It is December 7th. by the way, Pearl Harbor day, 69 years ago.

Bron

Drat!

2010-12-06T13:57:00.002-05:00

More Snow Monster.

Looking from the studio door, through our little forest to the front street.

Lake Effect Snow Monster

2010-12-05T14:28:00.002-05:00

It's here, the dreaded "Lake Effect Snow Monster".

From the back window of my studio, and that is not fog, but snow. A few minutes before I took this, it was sunny.

Here, a screen grab showing the bands that are common with lake effect snow. Cold air out of the Northwest, crosses the relatively warm lake waters, picks up moisture, and dumps it as snow. The snow squall bands can and often do, produce intense snow falls where visibility is just a few feet. This makes driving very dangerous, especially when it is cold enough for roads to ice over. Last winter, driving into Chicago on the Toll Road, that green line just above the red dot that is South Bend, after a Snow Monster event, I counted 42 vehicles either still in the ditches or indications that one had been pulled out. I could only see 2/3rds of the ditches. This was an approximately 40 mile stretch of road; skid offs were clumped into groups, probably due to the banding of snow squalls.

Slip sliding, and shoveling are Olympic events here in Northern Indiana. It is not uncommon to spend a sunny day in Chicago, then drive into a whiteout on the way home as I enter the line of NW wind off of the lake. The seven day forecast shows snow, unending snow, every day, snow ...

Off Topic

2010-12-04T15:13:00.001-05:00

We had a very pleasant autumn, then the month turned to December, and it started snowing ... not a lot, but a general, consistent snow, that the weather reports say is going to turn into the dreaded "lake effect" snow later today, the 4th. of December. When it ends on Tuesday, the 7th., some spots will likely have 20 inches of the monstrous stuff. Pfui!

Here, the Bears ...

Poor Bears.

Thanksgiving.

2010-11-26T11:22:00.002-05:00

Yesterday was Thanksgiving. I, too, have much to be thankful for, and as an addenda to the post below; that is one of the ways that I give "Thanks"; a small offering of my knowledge, in the spirit in which much knowledge was given, freely, to me. Not everything should be monetized, though, that is not a bad thing, monetization. These notes on technique, and process were meant to be a place for me to pass on some of my knowledge.

That is all. Thank you!

Bron

From the mail

2010-11-23T19:27:00.001-05:00

Some questions about the frame above, from Mr. Arthur Rooks, of Zurich. Mr. Rooks is a very "eclectic" dealer, as having explored his site, Quintessentia, he collects and markets a vast array of interesting and aesthetically pleasing objects.

The questions: "I am a really big fan of your blog. I am not sure why but I have always liked frames. I am a dealer of 20th century furniture but I always
find myself looking for frames. Of course, the trick is then to find a work of art to fit them. Hence, I end up with stacks of frames.

I have a question regarding a frame that I have purchased at a flea market. It is completely carved with shells and
reeding (I hope this is the right term). However, unlike other European frames that I have found, this has gilding directly on the wood and does
not have a layer of gesso underneath. Do you have any idea of the time period of the frame? I think it is late 19th century.

Do you think it is American or English, perhaps.
I forgot to mention that I live in Zurich Switzerland. I have attached photos of the frame. It is quite large at 39.5 x 43.75 inches."

My response: "Mr. Rooks,

Thanks for liking the blog!

There was a period, early 20th. c. when grainy woods like oak, were sealed and leafed directly, usually based on Whistler style frames, though sometimes carved, and gilt with out gesso, though this frame does not look like that was the aesthetic intended.

The frame has a certain, "naive, primitive" quality to it. The finish appears to be bronze powder pigment, in a binder, usually lacquer. The "shells" don't line up on two of the corners, indicating the moldings were carved as stick moldings; not a closed corner frame.

It does appear to be either late 19th. or early 20th. c. At some period, the rabbett was enlarged.

The section that appears to be water damaged, also seems to show some white material, possibly a thin layer of gesso? The oxidation of the bronze powder, turning it green; another indication of paint.

That is about all I can tell from the photos, though having googled you, it seems to be in keeping with some of the other items you carry; this: Expressionist wood sculpture."

Some further responses:

The question of being English or American, is not really answerable, though in America, we tended to import frames, not export them. The wood could be American, as the frame is from the period when the great Northern forests were being mowed, and a lot of the wood was exported.

I, too, have a vast collection of "junk" frames that have negative value, but I store them, as I have not the heart to discard them, and short of painting a painting for them specifically, it is next to impossible to connect art and frame, without modifying one or the other.

The term "reeding" is usually used in the sense of parallel "rods", though that can also be "beading", and "beading" may also refer to chains of balls, or small lozenges.

Autumn

2010-11-18T07:22:00.001-05:00

An image from early November, a few years back. Cool, with possible snow this morning, but it has been a very nice fall. That's all.

At Idiotic Hat, an interesting post on thought and memory, specifically memorization.

Vetrans Day, Today

2010-11-11T08:03:00.002-05:00

The Soldiers and Sailors Monument, Indianapolis, IN.

Once called Armistice Day, for when The Great War ended. Then, there was another, though some think it was just a continuation.

Civil War Monument, Battell Park, Mishawaka, IN.

Sunday Rant

2010-11-07T22:17:00.002-05:00

A some what bedraggled Ken, getting ready to be eBayed by my wife, from her childhood collection.

Just a thought on a Sunday, as I'm listening to an album mentioned on TOP, see the links. I'm very responsive to jazz, like it a lot, but for some reason, I do not seek it out in the way I do classical. I'll have to think about that for a while ... in the mean time, "Ben and Sweets" is a delightful album.

My thought had to do with framing, and specifically the framing of mirrors, and affirmation and power. Most of us look in mirrors a lot ... yet the mirrors are nothing special ... don't you think that the affirmation and power of a really special mirror, one that frames YOU as special, important, Louis XV, sort of person would be important? New marketing program yowzahhh!!!!!

Stuff I'm working on. The frame would be good for an affirmation of self though, don't you think? Designed as a vertical, kudos, a big bag of them, to any one who notices. Verticallity.

I'm sorry, it's a little tricky, as the image isn't that clear, but the bottom inner "bead", center, is not carved, which adds to the vertical feel.

Bernat Martorell

2010-10-26T11:13:00.004-04:00

St. George and the Dragon

Bernat Martorell

The Art Institute of Chicago

One of my favorite paintings. Below, detail showing the sculpted, 3D elements, gilt of course. This painting is a wonderful example of a great 15th. century painter, and his studio, quietly showing all of their repertoire. The carved wooden panel, gilt, and the painting itself, with it's wonderful, "rolling" perspective. Every time I'm in The Art Institute of Chicago, I visit this painting; it is an old friend.

Another detail; note the fly on the bone, and the splatter technique for the dirt and sand.

Works Progress Administration

2010-10-21T17:31:00.003-04:00

Another painting in process, top, and a better image of the one in the previous post. The one on top is essentially done, only needing some air brush glazing with egg yolk and water to even the sheen. The one on the bottom needs a little tonal "fussing", but is also, essentially done ... but, they both need the frosting ... the FRAME. I feel such a dinosour, frames, how quaint.

The "dune" painting started from a photo, but has wandered off in directions of it's own. It is somewhat large for me, 12 x 24. The "sunset" is based on an existing watercolor, but it has also wandered off, seeking it's own path I guess. It is dimensionally, 6 x 12. All dimensions are in inches, and height precedes width; customary museum practice. Some picture framers and some wood butchers reverse that ... but they are just wrong. I asked my wife, a former museum registrar, whether the American Association of Museums had set the standard; she laughed, and said no, it came from the "book". Dorothy H. Dudley and others, Museum Registration Methods.

Here, from the Museum of Modern Art, a brief bio of Ms. Dudley.

So, just for the record, height precedes width .... OK?

Get it right ... and the bluebird of happiness will do ... whatever ... OK?

Work in Progress

2010-10-15T17:09:00.007-04:00

One of several egg tempera paintings I'm working on at the moment. Untitled, as of yet, 6" x 12", on a panel.Traditional gesso.And the photo was done quickly, and is ever so slightly off. Once it has a frame, I will spend the time to photograph it properly.

Loosely based on a watercolor of mine. One of the pleasures of egg tempera for me is the subtle changes that can be rendered by glazing; and the glazing can be done in cross-hatching, scumbling in a color, or even air brush. Sometimes the paint is just "pushed" around. Unlike oils, there is no tendency to produce mud by repeated working of a passage.

The painting is nicer in person than on the interwebs ...

Addendum to a previous post. Here

I'm pretty sure the last three words on the top line are: "laid to rest". In the bottom line, the last words are? "all their country? wishes blest. I've jacked up the contrast and sharpness for this file. I've thought of doing a rubbing, but I suspect that doing a photo as I did, with a corded flash at a right angle to the stone is just as good. Help would be appreciated; I have several raw files; if there is anybody who reads my meanderings and is interested in this sort of thing. It's just an itch I feel like scratching. This small cemetery went through a period of neglect, but seems to be being cared for now, and my interest in that bloody war continues unabated.

Modernist frame

2010-10-07T18:29:00.003-04:00

Peter Blume, "The Buoy", Art Institute of Chicago

This is an example of the delightful polychrome finishes from the "Modernist" period of the 1940s-50s. They are characterized by broad, but simple moldings, and in lieu of ornaments, textured gesso, followed by washes of polychrome that are rubbed, scrubbed, and abused to achieve some beautiful effects. The textures range from the combing, seen above, splattering, scumbling, and sort of slathering with a palette knife, like impasto knife painting.

The above frame is a touch "loud" for my taste, though I think it works. I'm from that ancient school of framers who wants the frame to enhance rather than announce it's presence. Not that I'm always innocent. Here, though it hides it's freak flag well.

Gesso

2010-09-30T09:59:00.003-04:00

The following is a copy of a post on the Picture Framers Grumble, regarding pinholes in gesso:
http://www.thegrumble.com/showthread.php?t=51531

A Peter Blume painting at the Art Institute of Chicago, "The Buoy". Lovely frame.

"Pin Holes, ehh.

Baer, urinating in the gesso jar again? Humph!

Actually, large mammal urine contains urea, which is the compound used by TiteBond to make "liquid hide glue". It suppresses the gel rate. Hide glue and RSG are the same thing, just different glue strengths.

John, your recipe might be on the strong side. I use a ratio of 2 grams glue, dry, to 1 liquid oz. of water. For a 20 oz. jar of gesso, I add a tablespoon of uniodized salt ( the palm of my hand ). Salt is a gel suppressant as well. I've never used urea, as I'm too lazy to go to the drug store and ask the pharmicist if he has any. Baer fails to mention the "secret" aspects of the urine recipe; that it be done in the light of a full moon, shaded by an old oak tree, preferably in a cemetery. The gilders guild says so.

First coat needs to be as thin and "licked out" as possible. Wet sanding, polishing, rubbing, etc. will work, but the first coat is the important one. 1st. coat is always brushed, then subsequent coats can be sprayed. A splash of alcohol, in both the gilder and the gesso helps as well. Alcohol acts as a tension breaker, suppressing bubbles.

The problem with linseed oil is it needs to be emulsified in the gesso; a blender works well. I routinely let my gesso gel, then reheat for use. I used to use a hot plate from a coffee maker, as they heat to around 150 degrees, but now I just use the microwave, after spending some time with a thermometer figuring out times and power."

Addenda:

"Wet sanding, polishing, rubbing, etc. will work, but the first coat is the important one" above, is how to deal with pinholes after the fact. The first coat is where pinholes develop and then show through later coats.

Civil War Monuments

2010-09-03T23:29:00.002-04:00

Another monument of the Civil War. This is from The Mt. Zion Cemetary, Bertrand Township, Michigan, south western Michigan.

I need to return, as there is an inscription that I did not notice til looking at the photo.

A Master Printer

2010-08-18T12:22:00.003-04:00

Over on TOP, here part1, and part 2. A two part article by the Photographer, Peter Turnley.

From the press release:

"Today, Mike Johnstonʼs The Online Photographer (TOP), a photography news and

discussion website for photographers, has published a significant original article. Itʼs a
profile of Voja Mitrovic (“Voja” is pronounced “Voya”), the darkroom master who printed
for Cartier-Bresson, Koudelka, Sebastiao Salgado, Werner Bischof, René Burri, Marc
Riboud, Robert Doisneau, Edouard Boubat, Man Ray, Helmut Newton, Raymond Depardon,
Bruno Barbey, Jean Gaumy, Frederic Brenner, Max Vadukul, and Peter Lindbergh
to name a few."

The descriptions of the compexities of B&W printing are wonderful, and as usual, the commentary is very good.

In my youth I spent a lot of time in wet darkrooms, so I have a lot of respect for the skills involved.

A new design?

2010-08-10T18:01:00.000-04:00

A new design, sort of a curled leaf pattern, but also based on the stylization of the various patterns sometimes called after the painter, Childe Hassam.

These are another pair of the "Hassam" style frames; flat panels, a geometric quality to the moldings, with relatively simple patterns, though some get elaborate, with carved patterns on various steps of the molding. All three are "organic" in basis, though the middle is very stylized.

The top image, with it's burnished gold areas, is what I was striving for, though I'm not sure that that is that great.

The idea will never work if it isn't turned into something actual, and it may fail, or not. Time, a little time is needed. For me, the process of making something, the need to focus on the physical, makes it difficult for me to see with a clear and critical eye about a design, though there is a clear, critical eye about the technical aspects. Aesthetic vs technical.

The Hard Part, or back to our regular programming.

2010-07-29T19:00:00.004-04:00

The sanding, scraping, refining part. Frames are "white" at this point, gesso applications are done; drying is done ... and now to the finger splitting, mind melting part. Sanding smooth, refining edges and curves, and making ready for the FINISH.

I use a combination of carving tools, small rifflers of various shape, and various scrapers, as well as various sanding blocks, various shapes. In the gessoing process, edges get soft, lines get filled. The French make tools specifically for the carving of gesso, usually in conjunction with carving in general ... me, I just use what I have, the small carving tools, scrapers and rifflers.

(riffler |ˈriflər| noun

a narrow elongated tool with a curved file surface at each end, used in filing concave surfaces.
ORIGIN late 18th cent.: from French rifloir, from Old French rifler ‘to scrape.’

It's those French again. Wonderful place, France; I've been fortunate to spend a few weeks in France, both Paris and La France Profond, the country side, Provence actually. Waiters still sneer at my French, but I do get what I ordered. I take that as a great compliment. Any place that has as much variety in wine and cheese, and also has restaurants devoted to nothing more than "snails", Escargot ( Snails, broiled in a combination of butter, garlic, and parsley, in the shell) ... well, that is a good thing. In the photo below, please note that the snail is gilt. One of those "small" regrets, is that I didn't find this restaurant until we were leaving, and that was on a Sunday, and France, being Catholic; many businesses are closed. There are regional variations in the recipe; after all, it is France.

Mean while, back at the ranch, where the bleeding, split fingers are. In the winter, the back and forth and pressure of sanding tends to aggravate the skin splitting.

Any way, the idea is to clean, refine and smooth the edges and surfaces.To make edges crisp, and everything ready for the bole.

End of an Era

2010-07-12T11:41:00.001-04:00

TdF

Yesterday, truely the passimg of an era.
I'm a long time fan of cycling, and enjoy the TdF a lot. One of the more poignant moments for me was in 96, when Lance abandoned the tour on a fog and mist enshrouded mountain side; took his number off, and drifted back down the mountain, into the fog, none of us knowing the pain he felt was the cancer riddleing him. He survived to become the champion of champions. Today was sad, though handled with grace and humour, through the pain. After his third crash, fourth in this tour, he stood, hands on hips, looking at his bike, then mounted and "sat up", knowing that the tour he had dominated completely, finally had turned on hin. I hope that he will finish, help his team, and enjoy "Le grand boucle" as just a "rider".

Mural by Shepard Fairey, Photo uncredited.

Mistakes

2010-07-05T14:22:00.001-04:00

Above, correction of a MISTAKE; one that I seem to need to repeat every blue moon, as the mistake always involves One Inch, too short or too narrow, and always one inch. In this case, I was ripping stock for some 3 1/2 inch wide moldings, which I very carefully measured and set my fence on the table saw to exactly 2 1/2 inches. Fairly easy fix, as I did have the right size stock to work from, and other than the time involved to glue the missing inch onto the sticks, not really a problem, though the few minutes of unease after realizing the mistake ... and then thinking it through, pfui. Because my bench is flat, I can use it as a caul, a pressure plate for clamping operations.

It has been said that a master is not one who doesn't make mistakes, but one who knows how to correct them when a mistake is made. Just glad this one wasn't worse.

Here, the cleaned up sticks, ready to be molded. I "lost" about an 1/8th of an inch in thickness cleaning the faces of glue, etc., but I was oversize, so I'm still within my design parameters.

Old Abe

2010-06-23T16:52:00.003-04:00

Old Abe

We did a "whirlwind" visit to the Chesapeake Bay to see some friends; eat some crabs, etc. On the way back, drove through Wash. D.C. so the teen and preteen could see some of it. Visited with Abe, tried to walk the Vietnam Memorial; couldn't, and that is enough of that.

Washington, D.C., our nations town, is worth a visit; walked around the Memorial, inside the pillars.

Above, a photo of The Arlington Memorial Bridge, and in the distance, Arlington House, the once home of Robert E. Lee; now surrounded by Arlington National Cemetery.

Abstractions

2010-06-14T15:11:00.002-04:00

Inspired by Mike Chisholm, Idiotic Hat, I've been trying some images that are more about compositional elements, than images of "something". I've also been fooling with square format. Both are hard to do effectively. This image does not work square, though that is the fun of being a fool. The rock is part of my world renowned Bonsai and Rock garden.

A Return to regular Programming.

2010-06-07T22:06:00.002-04:00

The completed frame, based on the clients design, for an 18th. century "death" portrait of a cloistered nun. Here, I talk a little about building the frame.

The original "sawtooth" pattern was probably cut out of a large board, sawing each angle with a fine tooth saw, then "bread" slicing the board to get the thin ornaments. Different solutions for the problem, based on the materials available.

On Equipment

2010-06-02T13:22:00.002-04:00

As a photographer, I've gone from high end to low and back up. I started with a Nikon F, through Pentax and Praktica, and along the way I've used Leicas, Speed graphics, Rolleis, Hasselblads and view cameras. With digital, I've used a succession of small P&Ss and two larger cameras, including a Nikon D100, and my current "large" camera, the Canon G9.

Like most choices, there are compromises. The G9 is not very good at fast action, and if one is bothered by digital noise, there are better machines. It can be set-up to deal with these limitations by prefocus, shooting raw, noise reduction software, turning off the LCD, and review. There are lots of tricks for speeding things up or dealing with noise.

However, it has a really good lens, that covers a range I like very much, 35-210. What distortion it has is easily corrected in Photoshop or Elements.

This is a jpg straight from camera, at 800 ISO, resized for the interwebs., and at about 170mm. The tilt is the photographer, who sometimes tilts. 1/100 at f/4.5. This was done quietly, and because of the optical viewfinder, unobtrusively. No bright lights from the LCD, and because it's mirrorless, and an electronic shutter, there is none of that clanking and clatter associated with an SLR type camera. Just a small "snick", that in a theatre is probably unheard by any but me. The OVF is more of a general aiming device, as it only covers 80%, and is slightly "off" as to actual aim, but functional still. What I have is a quiet, discreet machine that fits in a coat pocket, and takes images that I find very usable. Dance performances are very glittery; noise sometimes there, can disappear into the overall sparkle. From my own work, and reviews on the web, shooting in raw, and doing noise reduction can help a lot.

Professionally, as a tool for documenting art, the little machine shines. At base ISO, on a tripod, superb image quality; and by paying attention to the "sweet spots", images can be produced that require minimal processing. Aperture at f4.5, and in a middle range of focal length, though the entire range is perfectly usable. I have a gadget that allows use of a traditional shutter release, but for this kind of work I prefer the self-timer, as it lets everything settle down. The large LCD makes the camera like a mini-view camera, except no hood. The image on the LCD is also 100%, and quite accurate as to what will be captured. This is something that, using a SLR type camera, with a viewfinder, is only available in pro level equipment, though more cameras are coming with "live view" or even electronic view finders.

Camera from the front, with a Richard Franiec, Lensmate, filter adapter and custom grip. The adapter allows use of filters, which are sometimes needed in photographing art. Below, with out the adapter. Under the flash is some velcro, used for covering the flash with some diffusion material. I sometimes use the on camera flash to fire a Nikon SB-80, and I also can fire the Nikon using a SC-17 Nikon cord, remnants from my Nikon system. I've covered all but the center contact on the hot shoe, allowing the camera to fire the flash with out any of the folderol of TTL, etc. This also allows very high speed sync; all Strobist tricks. Strobist is a good source for the use of flash.

A relatively small, light camera, that shoots raw, has full manual, and is capable of superb image quality, and all at a modest, by camera standards, cost. When somebody makes a machine like this, but with an EVF rather than the OVF, it'll be time to upgrade. Probably, soon, there will be such a machine. In the meantime, the G9, because I know how to use the camera, something far more important than resolution, or the size of your lens, is capable of professional imagery.

On equipment purchases.

2010-05-29T12:04:00.000-04:00

Over on TOP, an interesting post on the journey through camera purchasing, seeking Nirvana.

My own route followed a similar course, and has now taken a severe turn; I'm down to two cameras; a small P&S, and a "serious compact", the Canon G9.

When I get back from some deliveries I'll explain my reasoning.

A Nice Story

2010-05-25T18:39:00.001-04:00

This is in response to a question over on "The Grumble".

In the late 1980s, I made some frames and did some restoration work on some frames for an exhibition on the Civil War at The Chicago Historical Society. One of the objects in the exhibition was a portrait of Jefferson Davis, circa 1865 in a circa 1865 frame. The curator wondered if we could reproduce that frame for use on another painting. Off to Thanhardt-Burger, owners of the Newcomb-Macklin collection of molds. T-B kindly gave me access to the collection, where after much dusty rummaging, I did find some molds that I thought were very close.

From the "leftovers" box.

The middle ornament is similar, though I "remember" it as more fruits and veggies, than floral. The acanthus "skin" is probably similar. I had some ornaments made, and took them to compare to the 123 year old frame. 100 % certainty, the old and the new came from the exact, same mold.

Serendipity.

A little back story: Newcomb-Macklin was a very successful company for a long time; they routinely acquired molds and designs from other companies that were leaving the field. One interesting aspect of the 1865 frame was that it was leafed in both metal leaf for the body, and water gilt gold for the highlights, which is not unheard of, but rare.

This is an image I posted at the Grumble, cropped and larger here. I think the top, running ornament might be similar to the ornament pictured above, the top ornament.

Frames, history, serendipity; all we need is SEX.

2010-05-23T11:17:00.004-04:00

Sunday morning popped poppies. Today's are in bright sun as opposed to the damp and dreary image from Saturday.

Popped Poppies.

2010-05-22T08:23:00.002-04:00

Saturday morning, poppies have popped.

An unusual frame.

2010-05-20T17:31:00.001-04:00

I'm making a frame for an 18th. c. "death" portrait of a cloistered nun. The portrait was given to her family, who she hadn't seen since entering the convent at the age of 15. The frame in the picture at right, the portrait has a frame digitally added, and modified for this painting. At the left is a sketch of the profile, again modified, with different angles for each slope. At the bottom of the bench is the sawtooth pattern being chopped out of 1/8 inch plywood. Plywood because it will hold together, and by hand so it will look authentic, with some variance from cut to cut. Scrap under the ply, a "straight" carving tool, and my favorite little mallet.

The design is the customers; I'm just figuring out how to do it ...

More Ado.

2010-05-20T17:13:00.000-04:00

Not very abstract, but much ado about not much.